——潘松的雕塑
殷双喜 中央美术学院教授、《中国雕塑》主编
Yin Shuangxi
Professor, China Central Academy of Fine Arts
Editor-in-chief, China Sculpture
青年雕塑家潘松自清华大学美术学院雕塑系毕业后，即到北京服装学院雕塑系任教。作为“70后”的一代，与同代人相比，他是幸运的，即他的人生与艺术历程保持了连贯性，不必为生存而奔波，有着稳定的职业和较好的创作条件。但是，与前代雕塑家不同，他的艺术发展期正是中国社会剧烈变化的时期，这一时期的文化环境与艺术思潮的变化也空前剧烈，使得这一代青年艺术家在文化潮流的冲击中产生了巨大的心理紊乱。艺术对于他们来说，不再是创新的束缚，而是选择的困惑。潘松的求学时期与毕业后经历的变化与选择是丰富的、前所未有的，所幸的是，潘松没有迷失在所谓的当代艺术一味求新的时尚潮流中，而是立定精神，脚踏实地，逐渐地走出了自己的雕塑道路。
Young sculptor Pan Song, upon his graduation from the Sculpture Department, Academy of Arts & Design of Tsinghua University, began teaching sculpture in Beijing Institute of Fashion technology. As the one born in the 1970’s, he is lucky compared with his peers, for his life and art experiences are interrelated harmoniously: he has such a stable job that he needn’t worry about the means of living and that guarantees him a good creation environment. However, different from those former sculptors, he is in an age when China is undergoing tremendous transformation which leads to unprecedented changes in cultural surroundings and artistic thoughts, and as a result the young artists are shocked and bewildered under such great impact ---- art to them is no long restraint for breakthrough, but confusion to make an option. Fortunately, Pan Song does not get lost in the so-called modern artistic trend of chasing novelty; instead, he keeps feet on the ground and gropes his unique way ahead.
潘松在中国当代雕塑中的形象确立，与他近年来在全国性的大型雕塑展览中的代表作品《霓裳系列》有关。他的作品将人体与服装结合起来，探讨艺术与时尚的结合，雕塑与时装的结合，与此相呼应，潘松在《霓裳系列》这一系列雕塑作品中探讨了雕塑的造型与色彩、材质与肌理、变形与夸张，以及软硬、轻重、舒缓、动静等一系列在雕塑艺术与时装艺术中共存的视觉形式语言要素。评论家吴洪亮先生指出，在当代，“以这种时尚作为雕塑主题直接切入的中国雕塑家还没有，潘松是第一个以这个为主题来做系列作品的。”
The establishment of his symbolic image in the contemporary Chinese sculpture is inseparable from the “”Ni Shang” or “Rainbow Fashion” series, his representative works for the latest national grand sculpture exhibition. His works tend to associate human figure with apparel, exploring the combination of art and fashion, sculpture creation and fashion design. Accordingly, Pan Song in his “Rainbow Fashion” series adopts such techniques used in sculpture creation as plastic arts and colors, materials and textures, deformation and exaggeration, and initiates some visual forms and language elements coincident in both sculpture art and fashion art such as softness and hardness, lightness and weight, emotion and stillness. Just as Mr. Wu Hongliang puts it, “he takes the initiative and adopts ‘fashion’ as the topic to create sculpture artworks, which is rare in China.”
后现代文化的重要特征就是强调文化多元性，提倡宽泛的“艺术”概念。20世纪以来的当代艺术所具有的一个突出现象，就是不同艺术门类的穿越与跨界，不同艺术形式与材料的综合运用。当代有许多著名的建筑家与服装设计大师，将雕塑的形体与质感作为其设计的灵感来源与造型母题。而潘松则反其道而行之，在北京服装学院这所中国最具影响力的服装艺术教学与创作中心，能够有机会听到许多世界水平的服装艺术讲座，看到许多一流的T台时装秀，他潜心于对服装艺术的感受与理解，并将这种感受与理解与自己的雕塑艺术的修养和知识框架结合起来，从中发现服装、模特儿的造型与材质、色彩等在当代雕塑艺术中的融入的可能性。正如潘松所言：“服装，在当代作为一种视觉与空间的艺术，既可以将其看作是一种形式的绘画，也可以将其理解为三维空间中的立体雕塑，其本身是一个融合多重艺术形式与艺术元素的集合体。由此引申，雕塑与服装也因为这种共性，而在我的意识中不再泾渭分明。”
The post-modern culture is featured by emphasizing multi-cultures and advocating the concept of art in its broad sense. And the contemporary art in the 20th century is characterized by cross-over and hybrid of different types of arts, comprehensive combination of various artistic forms and materials. Many famous modern architects and fashion designers are apt to derive their inspiration from sculpture figures and textures; Pan Song, however, adopts the converse reflection. Working in Beijing Institute of Fashion Technology, the most influential fashion art teaching and designing center in China, enables him to attend world-class fashion art lectures, watch the first-class runway shows. He intoxicates himself in sensing and comprehending fashion art and tries to associate them with his sculpture knowledge and framework, probing the possibility of a harmonious merger of techniques typically adopted in fashion design with that in sculpture creation. Just as Pan Song explains, “Fashion design, regarded contemporarily as an art of vision and space, is an art of painting to some extent, three-dimensional sculpture and in itself a gesamtkunstwerk of multi-artistic forms and elements as well. Just because of the common ground shared by sculpture and fashion design, there is no longer any clear-cut division between them in my head.”
潘松的《霓裳系列》，首先来自他多年对于人体雕塑的研究与认识。通常，我们认为，服装是遮蔽人体的文化形式，代表着人类文明的进化过程中，对于人体的遮掩。但是，有关文化人类学的研究表明，许多时候，服装在不同的民族和地区，常常是表现人体的方式，更加突出了人体的某些部位、轮廓和形态，唤起观者的想象与激情，正所谓“欲盖弥彰”。在潘松看来，服装也是一种雕塑人体的独特方式，是形体、造型、色彩与时尚审美的空间艺术的自我感受。服装与雕塑之间的这种流动与凝固的形体，在他的脑海中时常产生出空间叠映，进而促发他用雕塑的方式，来表达自己对服装文化所阐释的人文意义及时代精神乃至对当代文化所引申的思考、理解与诠释。
The creation of “Rainbow Fashion” series is based on his years of study on human body sculpture. Generally, apparel is regarded as a cultural cover on human body, symbolizing the evolution of human civilization. However, some culture anthropology studies suggest that clothes, to certain people and in certain area, is a way to exhibit human figures, by means of which human body’s details, outlines, contours and gestures are emphasized, thus arousing audience’s imagination and passion. The same as the Chinese idiom suggests “try to cover something up only to make it more conspicuous”.
“文化空间的叠映”是潘松雕塑的特征，这是一种具有后现代气质的艺术理念。在我看来，潘松的雕塑创作与前代雕塑家所不同的地方就在于此。新中国雕塑的发展路径是建立在西方学院雕塑的教育框架中的，对于人体的空间体积与形体特征的关注，使雕塑家们长期关注于眼前的写生对象——人体模特儿，对于结构与透视、解剖等科学性的价值如准确的轮廓、三度空间的体积等给予充分重视，而忽略了雕塑形象背后的文化观念与历史价值。这种长期积淀下的学院思维模式以及在此基础上形成的审美价值，使大多数雕塑家固守与坚持在学院人体的语言系统。然而，当雕塑家进入当代艺术的“话语”情境与“观念”冲突中，就产生了许多困惑，如何将学院教学中的写实人体转化为具有当代文化特征的表现媒体，成为许多雕塑家面临的重要课题。
“Overlapping of cultural spaces”, a feature of Pan Song’s sculpture works, is an art concept with post-modern quality, which in my eyes is what set Pan Song apart from those former sculptors. The contemporary growth of sculpture art in China has been stereotyped by western academic education of sculpture that concerns much about the space volume and figure features. Consequently, Chinese sculptors have long focused their eyes on the objects of portrait in front of them, namely the human body models, over-emphasizing structures, perspective drawing, anatomical physiology and such scientific values as exact contour, three-dimension capacity, however overlooking the cultural concepts and historical values implied by sculpture images. The said academic stereotypes, in company with the aesthetic value formed herein, confine most sculptors to body language system. When entering the contemporary art context of “discourse” and “concept”, sculptors will naturally become puzzled: it is a hot issue how to transform the portrait object of human body into a medium of expression with contemporary cultural characteristics.
其实，我们可以将中外艺术史上不同的人物雕塑，视为一种“文化符号”探讨这些雕塑形象的背后所传达的人类审美意识，通过不同文化与不同民族的雕塑作品的解读，可以进入到不同民族的审美意识的演进与转化。潘松敏锐地抓住了作为文化符号的雕塑这一创新路径，对于“符号”，他的想法是单纯的，就是要远离片面的形体“经营”，使作品成为内心经历的真实外化，“符号”既是他的语言路径，也是观念本身。
In fact, we may regard those sculpture works of figure in both Chinese and foreign art histories as kind of “cultural symbols” which demote people’s aesthetic consciousness. The interpretation and decoding of those sculpture works in different nations’ cultures will give us access to the evolution of respective aesthetic consciousness. Keenly aware of that, Pan Song’s interpretation of “symbol” is quite purified, i.e. staying away from partial “speculation” and externalizing one’s internal thoughts. “Symbol” is the language he adopts to express his opinions.
我们可以从中西人物雕塑的比较中获得有意味的认识。首先，在西方雕塑的历史中，有关人体与服装结合的雕塑，出现的是很早的。一件约公元前3000年的《女人》粘土塑像，高33cm，由布尔诺私人收藏。人物挺拔而又丰满，腰的纤细与臀的饱满自然转换，曲线流畅。现藏于克里特赫拉克利昂考古博物馆的彩陶《蛇女神》，高约30cm，创作于公元前1600多年，她的双手各抓一条小蛇，头顶的花髻上蹲着一只猫，身着华贵的裙装，裸露前胸，有着一种神秘而冷艳的美。而现藏于德尔斐博物馆的公元6世纪的《少女头像》，很早采用了黄金象牙的材质，形成材料与色彩的鲜明对比。古代西方雕塑大部分以石材雕刻而成，由于石材的重量等原因，人物多采取肃穆直立的形态。总体说来，西方雕塑突出的是人体，服装为凸显人体而存在，代表作是路德维希宝座上的浮雕《阿佛洛狄特的诞生》（现藏于意大利罗马公共浴场博物馆），利用湿后贴身的薄衣线条，将出浴女神丰满的身体表现得出神入化。
A comparative study on Chinese and foreign figure statues will give us a profound understanding. In the history of western sculptures, the figure statues associated with figures and clothing may be dated back quite earlier. A clay statue “Woman”, height 33cm, now private collection of Bourno could be traced back to 3000 BCE. The figure is upright and buxom, the waist slender while the bottom full with a flowing curve. A faience figurine “Snake Goddess”, height about 30cm, today exhibited at the Herakleion Archeological Museum in Crete, dates from approximately 1600 BCE. Holding two snakes in her raised hands，with a small cat perched on her head, the goddess wears a tight bodice which left the breasts bare, a long flounced skirt with embroidered or woven decoration. The goddess is depicted as mysterious and cool beauty. A chryselephantine sculpture “Maid”, today collected in Delphi Archaeological museum, dates back as early as 6th century AD. It adopts gold and ivory which forms a sharp contrast of textures and colors. Most ancient western statues are carved out of stones which are so heavy that figure statues tend to be created upright and solemn. Generally, western sculptures tend to highlight human bodies, while clothing is merely served as making bodies stand out, as representative found in the Main panel "Aphrodite rising from the sea" of Ludovisi Throne, which is now conserved at the Museo Nazionale Romano of Palazzo Altemps, Rome. The goddess, in clinging diaphanous draperies, is depicted superbly with a sexual figure.
“云想衣裳花想容”。对于潘松来说，他吸收了西方雕塑中的人体塑造和材质、色彩的表达，但是并非刻意表达服装模特儿的人体之美。其实，在当代服装设计与展示中，并不强调突出模特儿个人的形体与表情，而是强调由服装包裹的模特儿所形成的整体造型与服装色彩、材质、灯光、音乐等所形成的综合的时尚文化气息。在这一点上，中国古代雕塑与现代服装设计有着更多的内在一致性，即传神为上，塑形是服务于传神的。以陕西省博物馆藏的西汉陶制《彩绘扁身女立俑》为例，作品的重点不在人体，而是形体的外轮廓。人物稳定站立，双手在腰前相挽，宽大的衣袍自然下垂，像一只安立在桌面的铜军号，自然流畅的线条在沉稳中而富于动感。事实上，当代服装设计与展示，以动态为主，与雕塑的静态表现有所不同，模特儿在行走中产生的摇曳多姿，是以线条性的动态组合为主的，当一队模特儿前后相继，同时出台时，一如中国古代名作《八十七神仙卷》，那简直是一场最为时尚美妙的时装展演。吴洪亮先生认为潘松“把流行性文化介入雕塑系统，其实是把流行性文化经典化的过程，在这个过程中潘松找到了一个切入点。潘松把握了时尚语言和雕塑的关系，用一种艺术语言进行链接和探讨，将其从时尚、设计的概念转化成纯艺术，从这个过程里找到自己的一种解读方式。”
As a Chinese poem goes, “I think of her silver clothing at the sight of drifting clouds and her stunning appearance at the sight of flowers”. As for Pan Song, he adopts the expression of figure creation, textures and colors in western sculptures, with no intentional emphasis on denoting fashion models’ figure beauty. It is a fact that in modern fashion design and fashion show, more emphasis is put on a comprehensive chic taste conveyed by fashion models in certain types of clothes accompanied by colors and textures of clothes as well as stage illumination and background music, rather than on the figures and facial expressions of individual models. That is the common ground we may find between ancient Chinese sculpture and modern fashion design, namely, vividness-esteemed. Taking as an example of “Colored Pottery Female Figure” collected in Shaanxi History Museum. What attracts us is its contour: standing still, hands crossed on the belly, loose-fitting robe hung freely and naturally, the figure resembles a copper bugle placed well on the table, smooth and flowing lines suggesting motionless mobility. Contrary to the static expression of sculptures, mobility of fashion shows is created by dynamic combination of lines. When a couple of fashion models appear on the runway stage simultaneously or successively, an amazing panorama is demonstrated in front of us pretty akin to “the Scroll of Eighty-seven Celestial Beings”, an ancient Chinese masterpiece of painting. Just as Mr. Wu Hongliang comments, “The integration of fashionable elements into sculpture is in reality a process of transforming fashionable culture into classic one, for which Pan Song has made a breakthrough. The dialogue between fashion and sculpture is made through an art language. Seeking for a concept transformation of fashion design into pure art, Pan Song possesses his unique way of interpretation.”
由此，潘松在创作中渐渐发现，单纯的人物塑造不是太难，但是要想做到使雕塑具有时代特征与时尚品味，就必须要创造出一个全新的符号。因此，他开始从服装入手来寻找形式的契合点：衣饰风格与纹路的表现、人体的型体与比例、质地的软硬与薄厚……这些在传统雕塑创作思维模式中鲜少考虑的因素，都成为潘松反复斟酌的重点。在服装的色彩追求与表现上，他通过雕塑中不同材质与效果的尝试，以求能够呈现出一种有别于以往雕塑语言的全新视觉效果。除了常用的铜，他还尝试了铸铁、大漆、金、银、铂等各种材质，后期的制造工艺也反复实验。当潘松用心创作与感受每件作品的时候，他发现每种材质都能够赋予作品不同的情感：有的古朴，有的绚丽，有的冷艳，有的神秘……服装与雕塑的语言，在他的作品中默默的产生出“霓裳羽衣”般奇妙的共鸣。
Gradually, Pan Song has become aware that it is not that difficult to create figures in sculptures, but creating ones with features and fashion tastes of the time calls for a brand-new symbol. Bearing these in mind, he begins exploring the forms corresponding in clothes: styles and patterns of clothes and accessories, figures and proportions of human bodies, softness and thickness of various textures… such elements, seldom taken into consideration during the traditional sculpture creation, nevertheless becoming his deliberations. In terms of presenting clothes’ colors, he has tried different materials and textures in order to achieve a brand-new visual effect in sculpture. Besides the commonly-adopted bronze, many other materials such as cast iron, lacquer, gold, silver and platinum have been testified and adopted, as well as been the after-creation craftwork. In creating and appreciating each work, he discovers that different materials may possibly convey different feelings: plain, gorgeous, cool, mysterious, and so on. Naturally, fashion design and sculpture creation come to resonate well in his works with a fantastic effect.
潘松的《霓裳系列》反映出潘松雕塑创作的两个艺术追求，也是他的艺术观念，一是寻找最有表现力，最能传达个人内心真实与感动的艺术“符号”，这种符号不是简单的风格化的艺术样式。第二点是寻找中西文化的不同特质，探讨西方现代雕塑与中国传统文化的交叉会合点，在这一过程中，一步步走向中国文化的深处。
Pan Song’s “Rainbow Fashion” series reflect two aspects of his art pursuit or art concept: one is in pursuit of the most expressive art “symbols” to denote his true feelings and emotions and such symbols are no longer simplistic or stylistic art forms; the other one is in pursuit of the overlapping points of contemporary western sculptures and traditional Chinese cultures while exploring their differences, through which he approaches the heart of Chinese culture step by step.
近年来，潘松的雕塑创作，除了延续并丰富《霓裳系列》之外，更向中国历史与文化的深处探寻，表现了一种高瞻远瞩的艺术视野与文化理想。例如，作为大型公共艺术的《和谐之林》，立于河南省郑州市金水大道的东部，古代宫阙的柱子上生长出斗拱，如同大树上长出枝杈。“树干”简洁挺拔，立体柱子的直线与斗拱流畅的曲线适成对比，这是对中国古代建筑的致敬。周围的大楼欣欣向荣，与古代建筑的文脉相连，反映出城市的生命，自然的生长，它既是民族文化的纪念碑，也是民族生命力的象征。晚上的灯光，突出了柱子的石材肌理，使之成为金色的丛林。斗拱的线条，和青铜器的花纹相通，刚劲有力，是对郑州作为商代都城，青铜文化的代表的礼赞。
In recent years, Pan Song continues and enriches his creation of “Rainbow Fashion” series. In addition, he explores deep into the core of Chinese history and culture, displaying his great art foresight and culture ambition. Take as an example the large-scale public art “Harmony Forests” which is located on the east of Jinshui Avenue in Zhengzhou City, Henan Province. The bucket arches on the column pillars of ancient palace are akin to stems growing out of big tree trunks that are simple and upright. With a contrast formed by the straight lines of solid pillars with the smooth curves of bucket arches, a salute is made to Chinese ancient architecture. Surrounding cement jungles presenting a picture of prosperity, while ancient style constructions exhibiting an extension of history, it reflects the life of the city as well as the growth of nature; it is a monument in honor of Chinese culture as well as a symbol of our nation’s vitality. When lights are shooting on the “Forests” at night, the textures of pillars become conspicuous, displaying a scene of golden jungles. Lines and curves of the bucket arches, in company with decorative patterns on bronze wares, are in memory of Zhengzhou which was once the capital of Shang Dynasty and the origin of bronze cultures as well.
潘松最近的作品《家》，表现了屋顶下的人，既有西方雕塑中的体积与结构，也有中国传统书法的线条意识与间架结构的味道。立体状的人物与支撑框架，间有榫卯结构，如同古代建筑的飞檐与斜顶。在甲骨文中，“家”的本意是在屋顶下有一头捆绑的猪。王公贵族在死后会建立“庙宇”用于祭拜，而普通的百姓是没有能力建庙的，只能在自己的家中用猪来祭拜，以后家引申为居所。潘松的《家》，并非对古代文字与书法的雕塑形式的再现，而是从中吸取某种中国文化的气息，寻找中国式的空间结构与表达方式。作品《鹿》的表达，将抽象性的线条与木头融为一体，既有甲骨文字的结构，也与中国古代木构建筑的框架有关，还有一种龙的意象。最近的《朴》系列，虽然还处于摸索的实验状态，但已经显露出很有东方意味的审美形态。这一系列的创作，在造型特征上吸取了中国古代建筑斗拱和著名石拱桥赵州桥的建构艺术特征，以榫卯的结构为创作的原点，赋予它生命成长的形式，并融入书法艺术的骨气，质如铁石、体若飞动，骨力遒劲而气概凛然，如张迁碑“朴厚劲秀，方整多变”的书法特点。加以古朴的肌理，更显其端正朴茂、逎美质朴，正如老子《道德经》中所说的“见素抱朴”，佳质深藏，光华内敛，本自天成，比喻自然质朴的存在，这也正是《朴》系列的思想源泉。
Pan Song’s latest work “Home” shows us a man standing under a roof, which demonstrates volumes and constructions frequently appeared in western sculptures as well as lines and framework as in traditional Chinese calligraphy. A three-dimensional human figure supported by construction with tenon-and-mortise work is so much like upturned eaves and slope roofs in ancient architectures. The way of writing the Chinese character “home” in Jia-Gu-Wen, the Inscriptions on Tortoise Shells and Bones, is like a pig under the roof. In the past, emperors and nobles would build “temples” as places of worship after their death; ordinary peoples, however, could not afford that, but to worship their ancestors at “home” with pigs as shrine offerings. Thus, “Home” is evolved into the place of residence. Pan Song’s work “Home” is not merely a reproduction of traditional Chinese calligraphy in forms of sculpture, but to derive soul from traditional Chinese cultures so as to seek for spatial construction and expression with Chinese characteristics. As for his work “Deer”, it is a combination of abstract lines with wood, both suggesting the structures of Jia-Gu-Wen and the framework of ancient Chinese wood architectures, as well as certain image of dragon. His latest “Pu” series, though still in exploring stage, has unfolded aesthetic charm with oriental taste. Characteristic of bucket arches of Chinese ancient construction and the renowned stone arch bridge ---- Zhaozhou Bridge, the “Pu” series basically adopt the tenon-and-mortise structure but enrich it with innovative sense and traditional Chinese calligraphy taste. Solid as rock but swift as bird, with vigorous backbone and overwhelming spirit, sculpture works resembles finalized clerical scripts as found in Zhang Qian Stele, which was characterized as “Pu Hou Jin Xiu, Fang Zheng Duo Bian” (formal in composition, regular in stroke placement, and dignified in expression), just as Lao Tzu asserted in his Tao Te Ching (or Dao De Jing) that people should “Jian Su Bao Pu” (manifest plainness and embrace simplicity). “Pu” is the Chinese pinyin, which means plainness and simplicity with profound connotation and inborn talents, staying away from artificial and pretentious decoration. It is from here that Pan Song draws his inspiration about his “Pu” series.
潘松的作品让我欣喜地看到，“70后”艺术家正在将目光转向中国历史与文化的深处，感受我们的先人那种与天地同在的精神气质，这是一种超越现实物质欲望，与大自然更为和谐一体的精神境界。我期待有更多的青年艺术家能够进入到中国历史与艺术的深处，探寻中国文化的内在底蕴及其在当代人的精神生活中的价值，重建中国文化，完成中国文化的现代性转换。正是在《霓裳》、《朴》等系列作品中，潘松努力尝试在传统与当代中寻求一种超越时空的心灵沟通，并将其聚焦在具有中国传统精神意蕴与图像风格的形象塑造上。中国传统艺术源于古代哲学思想的影响，在儒、道、佛思想体系的沃土中形成的具有典型东方意味的审美取向与精神追求，已经作为“集体无意识”渗透到中华民族的内部，成为本土文化的重要构成。潘松在创作中极力感受这种“古韵”，进而体会内化的精神升华与玄静神秘的美学境界。
To our gratification, Pan Song’s works unfold that the Chinese artists born in the 1970s have turned their sights to the heart of Chinese history of culture, perceiving our ancestors’ artistic temperament of regress to nature, which surpasses the material desire to be in more harmony with Mother Nature. I sincerely hope an increasing number of young artists may become aware of that, try to explore profound Chinese culture as well as its value for contemporary people’s spiritual life so as to rejuvenate Chinese culture during its smooth transformation from ancient to modern. It is in the creation of “Rainbow Fashion” and “Pu” series that Pan Song tries searching for, between the traditional and the modern, a spiritual communication, transcending space and time and focusing on the image creation which embodies traditional Chinese spirits and style. Originated in classical philosophy, nourished by Confucianism, Taoism and Buddhism ideologies, the traditional Chinese art, with its typical oriental aesthetics and tastes and as kind of “collective unconsciousness”, has merged well into and become an inseparable part of the domestic Chinese culture. Pan Song tries to sense with heart this “ancient art”, its innate spirits as well as mysterious tranquility.
今天，在21世纪西方与中国经济发展彼消此涨的全球性格局下，东西方文化的价值与关系也面临着重新认识与定位。作为艺术家的潘松，以其创作对此做出了敏感的反应，他的雕塑创作，虽然还有许多改进与提升的空间，但是他在艺术创作中努力寻找中华民族的审美意味，追求东方文化的身份表达，是具有时代意义和文化价值的。对于潘松这一代艺术家来说，雕塑创作既是在理想的追求中探索未知的精神活动，也是在感觉的世界里对当下世界进行诠释的方式。雕塑已经成为潘松生活一部分，真实地呈现了他的思想与生活态度。我对于潘松已经取得的雕塑成绩十分赞赏，对于他的未来创作充满好奇，期待潘松在时尚与流行中坚守人文理想，超越现实的束缚，以更多充满创意的雕塑作品表达自己对于当代性的思考，参与中国雕塑的现代转型。
In the 21st century, when the economic growth of China and that of western countries are well-matched, a fresh perspective is in need for understanding the values of and relations between oriental and western cultures. Sensitive to that, Pan Song, an artist, reacts with his creation. Although in need of improvement and advancement, Pan Song’s works have demonstrated his thirst for Chinese nation’s aesthetic charm and his pursuit of oriental culture identity, which is of great significance and cultural value. As for Pan Song and his peers, sculpture creation is a spiritual activity that explores unknown while pursuing ideal, is an interpretation for the current world with one’s intuition and judgment. Having merged into Pan Song’s life, sculpture presents vividly his ideology and outlooks. Admiring and appreciating Pan Song’s achievement in his creation, curious about his upcoming and future works, I sincerely expect that he will stick to his humanistic ideals, fling off all restraints of reality, unfold his perspective on the contemporariness with his creative works, as well as involve himself in the transformation of Chinese sculpture.