胡婷

兩江新區(qū)龍興園區(qū)御臨河畔，一青獅一白象，兩尊巨型雕塑隔河相望，與御臨河兩岸的景觀長廊交相輝映，成為龍興園區(qū)一道亮麗的風(fēng)景線。

這兩件作品出自重慶美術(shù)館專職油畫家、雕塑家傅榆翔之手，創(chuàng)作靈感源自“青獅白象鎖大江”的典故——乾隆年間，重慶經(jīng)濟(jì)興旺、文化繁榮， 為防止好風(fēng)水外流，長江兩岸分別建有青獅、白象石像，寓意牢牢“鎖”住財(cái)富。

Right on the banks of the Yulin River in Longxing Park， Liangjiang New Area， there is a green lion and a white elephant， sitting face to face with each other across the river， forming a beautiful scenery line in Longxing Park together with the landscape corridor on both sides of the river.

The two works were created by Fu Yuxiang， a full-time oil painter and sculptor of Chongqing Art Museum， inspired by the allusion of "Green Lion and White Elephant Locking the Great River"， which holds that Chongqing saw a period of great abundance and prosperity economically and culturally during the reign of Emperor Qianlong. To prevent the outflow of good fortune， the statues of a green lion and white elephant were built on both sides of the Yangtze River respectively， implying that wealth was firmly "locked".

如今，在渝中區(qū)白象街和南岸區(qū)南濱路， 依然能尋到“青獅白象”的傳聞。

2017 年，傅榆翔將這一歷史典故以視覺圖騰重現(xiàn)在大眾的視野。

“青獅”雕塑作品高 12 米，“白象”雕塑作品高 10 米，重量均為 8 噸。與傳統(tǒng)雕塑不同，傅榆翔的白象青獅分別采用全鏤空和半鏤空造型，呈現(xiàn)出復(fù)雜的視覺變化。這其中，雕塑采用鏤空的語言符號(hào)，以光子、電子、生物細(xì)胞為取意象征;鏤空花紋采用外圓內(nèi)方銅錢元素，也是向重慶清末時(shí)銅元局造帀廠時(shí)代致敬。

雕塑的鏤空造型是一大特色，這在全國也極少見，制造難度大，工藝非常復(fù)雜。“我們按照1 比1 的比例，做了兩件雕塑的泥塑， 再翻制成玻璃鋼，最后用不銹鋼鍛造，手工一點(diǎn)點(diǎn)敲打出雕塑的紋理凹凸感?！备涤芟枵f，“比如說白象是全鏤空的，鍛造時(shí)，都是由一個(gè)個(gè)外圓內(nèi)方的不銹鋼圈拼接而成。每個(gè)圈的大小都不同，焊點(diǎn)非常多。而青獅是半鏤空，其中獅子頭就有六層鏤空?！?/p>

Today， the story of "green lion and white elephant" can still be found in the White Elephant Street in Yuzhong District and Nanbin Road in Nan'an District.

Fu Yuxiang brought this historical allusion back to the public's vision as a visual totem in 2017.

The "Green Lion" sculpture is 12 meters high and the "White Elephant" sculpture is 10 meters high， both weighing 8 tons. Different from traditional sculpture， Fu Yuxiang's white elephant and green lion adopt full hollowed-out and semi-hollowed-out shapes respectively， showing complex visual changes. The sculptures use hollowed-out language symbols， representing photons， electrons and biological cells. The hollowed-out pattern takes the shape of copper coins， which are round outside but square inside， paying tribute to Chongqing's Copper Cash Manufactory in

the late Qing Dynasty.

The hollowed-out shape is a special feature of the sculptures， which is also rare in the whole country. It is difficult to manufacture and the process is very complicated. "We made two clay sculptures， which are a 1-to-1 replica， then turned them into glass fiber reinforced plastic， finally forged them with stainless steel， and knocked out the concave and convex texture of the sculpture bit by bit by hand." said Fu Yuxiang， "For example， the white elephant is completely hollowed out. When forging， it is made up of stainless steel rings with round outside but square inside. The size of each ring is different， thus there are many solder joints. The green lion is half hollowed out， of which the head has six layers."

除了制作工藝，受力問題也是難點(diǎn)，青獅尾巴有 8 米長，尾端還要承受兩噸重的大鵬，要考慮結(jié)構(gòu)力學(xué)的問題。

前前后后歷時(shí)近 4 個(gè)月，兩件雕塑才完成。如今，青獅被安放在御臨河南側(cè)，白象被安放在北側(cè)，基本還原了傳說中的位置和朝向。每當(dāng)夜幕降臨，兩尊雕塑內(nèi)部的燈光映射而出，更加炫目。

“它要連接城市的歷史文脈與未來發(fā)展方向。雕塑作品通過數(shù)字時(shí)代的視覺語言重新建構(gòu)傳統(tǒng)文化圖騰，很容易勾連人們對(duì)城市歷史的記憶?！敝袊鞘械袼芗覅f(xié)會(huì)主席、中國美術(shù)館館長吳為山對(duì)這兩件作品尤為贊賞。

In addition to the manufacturing process， the stress is also a problem. The green lion's tail is 8 meters long， and the tail end has to bear the Dapeng weighing 2 tons. Structural mechanics have to be taken into account.

It took us nearly 4 months to complete the two sculptures. Today， the green lion is placed on the southern side of Yulin River and the white elephant on the northern side， basically restoring the position and orientation in the legend. When night falls， the lights inside the two sculptures will be mapped out， making them even more dazzling.

"It should connect the historical context of the city with its future development. Sculpture works reconstruct traditional cultural totems through the visual language of the digital age， which will stimulate people's memory of the city." Wu Weishan， Chairman of the Chinese Urban Sculpture Artists Association and Curator of the China Art Museum， highly appreciated the two works.