滑田友（1901-1986），江蘇淮陰人，是20世紀(jì)中國雕塑發(fā)展史上具有深遠(yuǎn)影響的藝術(shù)家。1933年，滑田友去法國學(xué)美術(shù)。1936年，他創(chuàng)作的雕塑作品《沉思》在巴黎春季藝術(shù)沙龍美展上獲得了銅獎(jiǎng)，然后應(yīng)徐悲鴻之邀回國。1948年以后在北平藝專任教。1952年參與天安門廣場人民英雄紀(jì)念碑浮雕創(chuàng)作，并完成了大型浮雕《五·四運(yùn)動(dòng)》、《毛主席胸像》等作品。

Hua Tianyou (1901-1986), a native of Huaiyin, Jiangsu Province, was an influential artist in the development of Chinese sculpture in the 20th century. In 1933, he went to France to study art. In 1936, his sculpture “Contemplation” won a bronze prize at the Paris Spring Art Salon Exhibition and then he came back to China at Xu Beihong’s invitation. After 1948, he taught at the Beijing Art College. In 1952, he participated in creating the relief sculptures for the Monument to the People’s Heroes on Tiananmen Square and completed large-scale reliefs such as “May Fourth Movement” and “Chairman Mao’s Bust”.

說到雕塑家滑田友，就不得不提他的代表作《轟炸》，這部作品直接表達(dá)了中國雕塑史上的戰(zhàn)爭主題。1937年，日本侵華戰(zhàn)爭全面爆發(fā)，當(dāng)時(shí)正在法國留學(xué)的史力達(dá)朋友從報(bào)紙上得知，祖國和家鄉(xiāng)的人民正在遭受日本侵略者的蹂躪。雖然遠(yuǎn)離大海，他也有同樣的感受，悲憤促使他創(chuàng)作了一件石膏雕塑《轟炸》——一位年輕的母親回頭望著天空兇惡的敵機(jī)，右手緊緊抱著嬰兒，左手抱著幾歲的兒子，慌亂中奔跑著躲避日軍的轟炸。如果你仔細(xì)觀察，你可以看到母親身體的左側(cè)伸展成一條幾乎筆直的對角線，傳達(dá)出即將出現(xiàn)的緊張，然而，母親并沒有被嚇倒，仍然像雕塑一樣站立著，象征著不屈服和反抗?！掇Z炸》不僅被視為一件藝術(shù)品，而且被視為一件歷史遺跡:藝術(shù)家為一段苦難的歷史雕刻的紀(jì)念碑。很少有人知道這項(xiàng)工作花了好幾年才完成。原來，初稿制作后不久，德軍占領(lǐng)了巴黎，作者不得不將《轟炸》等多份手稿藏在地下室的煤堆里，直到二戰(zhàn)結(jié)束，才得以重見天日。1946年，當(dāng)青銅雕塑《轟炸》問世時(shí)，立刻引發(fā)了剛剛經(jīng)歷過戰(zhàn)爭創(chuàng)傷的法國人民的共鳴。這幅作品使他成為第一個(gè)被《世界美術(shù)百科全書》法文版收錄的中國人。

Speaking of Huatianyou, we have to mention his masterpiece “Bombing”, which directly expresses the theme of war in the history of Chinese sculpture. In 1937, the Japanese invasion of China war broke out in full, at that time was studying in France, Slipida friends learned from the newspaper that the motherland and the people of his hometown are suffering from the Japanese invaders. Although far away from the ocean, he also felt the same, grief and anger urged him to create a plaster sculpture “Bombing” – a young mother looking back at the sky ferocious enemy aircraft, the right hand tightly hugging the baby, the left hand holding a few years old son, running in panic to avoid the Japanese bombing. If you look closely, you can see that the left side of the mother’s body is stretched into an almost straight diagonal line, conveying the tension that is coming out, however, the mother is not intimidated, still standing like a sculpture, symbolizing unyielding and resistance. “Bombing” is seen not only as a work of art, but also as a historical relic: a monument carved by the artist to a history of suffering. Few people know that the work took years to complete. It turned out that shortly after the draft was produced, the German army occupied Paris, and the author had to hide a number of manuscripts, including “Bombing”, in the basement coal pile until the end of World War II, they were seen again. In 1946, when the bronze sculpture “Bombing” came out, it immediately triggered the resonance of the French people who had just experienced the trauma of war. With this work, Yuta became the first Chinese to be written into the French edition of the World Encyclopedia of Fine Arts.

雕塑家滑田友最著名的作品是人民英雄紀(jì)念碑上的五四運(yùn)動(dòng)浮雕。與歐洲明暗強(qiáng)烈對比的技法不同，他采用了中國傳統(tǒng)的還原構(gòu)圖方法，畫面趨于平直。裝飾性的人物線條和肌理吸收了中國佛像的雕刻技法，簡潔而富有節(jié)奏感。吳作人對滑田友的雕塑有這樣的評價(jià):它的雕塑藝術(shù)的確是中西合璧，古今交融。它既體現(xiàn)了西方雕塑的精神，又體現(xiàn)了中國文化的魅力。

Hua tianyou’s most well-known work is the relief of the May Fourth Movement on the Monument to the People’s Heroes. Different from the European technique of strong contrast between light and shade, he uses the traditional Chinese reverting composition method, and the image tends to be flat. The decorative character lines and textures absorb the carving techniques of Chinese Buddha statues, concise and rich in rhythm. Wu Zuoren has this comment on Hua Tian You’s sculpture: Its sculpture art is indeed a combination of Chinese and Western, blending ancient and modern. It embodies both the spirit of Western sculpture and the charm of Chinese culture.