In the group sculpture “Thousands of Waters and Thousands of Mountains”, Ye Yushan summed up the arduous journey of twenty-five thousand miles of “Thousands of Waters and Thousands of Mountains” by intercepting a typical detail of the long march of the Red Army. The group of sculptures shows the scene of the Red Army soldiers supporting each other in the long march against the wind and snow. The visit and brave advance of the front two fighters, and the backward call of the rear fighters, enlighten us about the existence of the Long March team and the long journey of “thousands of waters and thousand of mountains”. The resolute and confident expressions of the soldiers showed the confidence of the soldiers of the Long March in the victory of the revolution. The scene of two female Red Army soldiers supporting each other against the wind and snow, showing both the hardships and dangers of the Long March, and the mutual care, this kind of tragic warmth shows the warmth of humanity in the revolutionary war. The work adopts the method of casting copper, and the shape is similar between the similar and the dissimilar.
The army’s breakthrough in the Xiangjiang River was the first battle of the 25,000-mile Long March, and it was also a tragic and tragic event in which tens of thousands of martyrs were sacrificed. Ye Yushan used a large-scale stone sculpture head to make it directly born from the earth, in order to create a sense of intimacy between the audience and the statue without distance, and to produce a huge contrast between the statue’s large size and the actual individual proportion of the audience, so as to produce the sublime of visiting the scene in person feeling and tragic atmosphere. The statues made of huge rough granite blocks, and the 34-meter-high main monument built on the mountain on the huge stone statues, echoes the group statues up and down, and strengthens this noble and tragic atmosphere. The stone carvings form a huge cliff-like wall with various carving styles. It is supplemented by a hollowed-out opening and two sections of broken walls that are “connected by traces and meanings”, forming a unique sculpture form unprecedented in the history of Chinese and foreign sculptures.
“Zunyi Red Army Martyrs Monument” directly forms the main body of the monument with four giant heads of the Red Army martyrs, and the monument is 30 meters high, forming a shocking force. After reading the monument, contemporary sculpture master Liu Kaiqu said: “The time and space series is perfectly blended with the theme. The four boulder-like heads of the Red Army are unexpectedly abrupt in the audience’s line of sight, and the circular frieze enhances the narrative. And the specificity plays the role of awakening the theme, the stars shining on it break the silence, and the main body of the monument standing in the hollow is like a sword.” This is a work with simple shape and profound meaning.
Songpan’s “Red Army Long March Monument”, the monument is 50 meters high and the figure is 10 meters high. In the narrative relief of “Participating in the Soldiers of Children”, there are mothers saying goodbye to their sons, wives saying goodbye to their husbands, and children in their mother’s arms saying goodbye to their young fathers. Behind the family scene of crying farewell, there is a harsh reality, and the determination of the people to turn over and seek liberation. In the group of round statues in “Hardship”, the tear-jerking and grief-stricken look of the mother of the Red Army who bid farewell to the infant just moments before she left immediately, lays down the foreshadowing of emotion. Isn’t the “original intention” of the Red Army soldiers abandoning their wives and children the meaning of the Long March? The harmony of the sublime coexisting with the heaven and the earth and the delicate emotions deeply rooted in the hearts of the people returns the “original intention” of the revolution to human nature, which is the praise of the people in Ye Yushan’s heroic epic.
This is a memorial statue erected for a female Red Army hygienist who died during the Long March. Before his death, the Red Army medic had left many touching stories in the treatment of local people. When Ye Yushan made the statue of this female Red Army soldier, he chose the details of feeding medicine to the child. Isn’t this spirit of thinking about the people and serving the people at the core of the Red Army’s revolution? It is this kind of military-civilian spirit, this kind of female hygienist’s power of caring for the people’s humanity, that the statue of Ye Yushan’s revolutionary history has dramatically become a bodhisattva-like icon that the people spontaneously admire and worship! And through it, isn’t it the power of human nature? “Female Red Army Hygienist” has become a classic among many works praised by Ye Yushan’s revolutionary epic.
In this group of sculptures, the author intercepted a part of the heroic scene of flying over the Luding Bridge. Numerous Red Army soldiers were either crawling forward, or charged with guns, or threw grenades or sounded the horn of the charge, showing the thrill of flying over the Luding Bridge. of a moment. In this group of sculptures, the soldiers of the attacking team formed a strong sense of dynamism by leaning forward, and gave an unstoppable momentum with the overall momentum of rising and rushing forward. The whole sculpture is interspersed and supported by surging waves, which not only explains the dangerous environment of flying across the Luding Bridge, but also enables the whole sculpture to be fully supported. The idea is ingenious.
Among Ye Yushan’s hundreds of large-scale epic works, this work can be called a sketch. But this is a cleverly conceived monumental creation. The author certainly created two Red Army soldiers who “flyed to seize Luding Bridge”. Their heroic images of daring and rushing forward became the image symbols of countless Red Army soldiers on the Long March. As for the Luding Bridge, the author skillfully cut out a piece of iron cable to make a unique monument shape. The stele body of the stele is composed of a chain of iron cables that is easy to be horizontal and vertical, rounded to square, and divided into a whole. The two bronze soldiers of the Red Army and the granite stele behind them form an interesting contrast of movement and stillness, horizontal and vertical, bronze and granite materials, and together they form a delicate and unique monument shape.
This group of granite stone sculptures uses a large structure without details to shape the image of the martyr, and the stone retains the roughness of the original stone to highlight the rock-like fortitude and strength of the figure. The author focuses and typically arranges each individual head with the pine forest and the earth. When this granite-like image grows directly from the grass in the pine forest, together with the grass beside the stone carving, the pine forest near the stone carving, plus the green moss on the granite, and the sky and white clouds behind the pine forest, it can be said that the stone carvings of heaven and earth are integrated. There is not only the organic harmony in the sense of sculpture scene, but also the eternal and immortal implication of the spirit of the martyr being with the earth, mountains and rivers, and the reflection of the sun and the moon.
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