潘松，出生于七十年代。
我们通常把他们叫做70后的一代，因为从他们开始，共和国的苦难不再真实。
中央工艺美院本科，清华大学美术学院硕士，北京服装学院的雕塑系，潘松凭借自己的才华和能力，一路走得顺风顺水。
从他毕业创作的男人和牛、鼓手和射手看，形面语言接近布德尔雕塑的那种致密感，显示了潘松坚实的写实基础，其中充沛着一种雄性的力量。
但也有另外一个例子，是一件梳着牛角形发式的裸女。这个作品基本上仍然是布德尔式的，但却渗透出某种轻微的诡异和魔幻色彩。
Pan Song was born in the 1970s.
He belongs to, as people tend to call them, “The Generation70’s”, a generation in whose eyes all the bitterness suffered by our homeland has become a blur.
Graduate from Central Academy of Craft Art, postgraduate from the Academy of Arts & Design of Tsinghua University, and now teacher at the Sculpture Department of Beijing Institute of Fashion Technology (BIFT), Pan Song’s talents and genius seem to guarantee him a smooth way to success.
Looking back at his graduate artworks, we find what have expressed in the Man, Cattle, Drummer and Archer are approximately kind of compact sense as suggested in Antoine Bourdelle’s sculpture. The masculinity spirits dominant in his artworks reveal Pan Song’s realistism.
The nude girl with a bull-horn hairstyle in another artwork, similarly of Bourdelle’s style, however, suggests certain magic, unrealistic fantasy.
研究生毕业以后，潘松来到北京服装学院任教。
作为一所服装设计学院，居然拥有一个完整的雕塑系，这在全国恐怕也是绝无仅有。但仔细想想，其实这种组合并不值得大惊小怪。事实上，服装本身完全可以理解为雕塑。首先因为它是一个完整的三维空间结构；其次，尽管它的功能曾经是实用的，但在今天，这种使用功能已经在很大程度上被审美功能所覆盖和取代，所以传统的裁缝才变成了今天的国际服装大师。包括三宅一生在内的很多著名服装设计艺术家，大量地引进现代雕塑语言和元素，成功地设计出具有强烈空间意识的服装。既然服装可以借用雕塑的资源，雕塑为什么不可以从服装中寻找灵感呢？
潘松敏锐地意识到了这一点！在服装设计与雕塑创作之间、在服装文化与雕塑文化之间有一个彼此接壤和交融的区域，其中包含着非常异质的范畴，诸如软与硬、轻与重、动与静、流行与坚固、时尚与隽永等等，这些范畴构成了一个极为生动和有待开发的区域，一个他可以进入和探取的方向。
Having got his postgraduate degree, Pan Song came to Beijing Institute of Fashion Technology working as a teacher.
A complete department of sculpture set up in an institute of fashion technology, such a combination although rare in China, is not a surprise. Fashion in reality can be comprehended as sculpture. Firstly, fashion is a complete three-dimensional structure; secondly, its past function of pragmatism has been substituted, to a large extent, by aestheticism, which is why those traditional tailors have been transformed into world-renowned fashion designers. Issey Miyake is among those fashion artists who have successfully designed clothes with sense of space by introducing into fashion abundant sculpture elements. Fashion may derive inspiration from sculpture, and it is true vice versa.
Pan Song has possessed a keen eye for that. There is a field where interweave and mingle the fashion design and sculpture creation as well as the fashion culture and sculpture culture, which involve a variety of seemingly contradictory categories, soft and hard, light and heavy, dynamic and static, fashion and eternal, to name a few. All these categories constitute a vivid and undeveloped field waiting for him to explore and develop.
于是他利用自己在服装学院得天独厚的条件，开始有意识地选听一些服装课程，有意识地观摩服装展示和接触时装模特，让自己渐渐浸淫于时尚文化的浪漫气息。那种雕塑系常有的雄强力量渐渐内隐，一种“云想衣裳花想容”式的女性气息浮上表面。
Taking a good advantage of the academic circumstances in BIFT, Pan Song began to attend some fashion lectures, consciously watching fashion shows and getting access to fashion models, drowning himself in romantic aroma of fashion culture. The innate masculinity frequently coupled with sculpture has faded away, while an air of femininity has emerged as suggested in the Chinese poem “I think of her silver clothing at the sight of drifting clouds and her stunning appearance at the sight of flowers”.
高耸的发髻，朦胧的神情，修长的肢体，云霓的衣裳，潘松一口气做了一大批铸铜的、铸铁的、贴金的、大漆的，堆在他的库房里，大大小小、林林总总，已经颇有些壮观了。
这个系列的基调唯美、冷艳，甚至一点诡媚和颓废。它显然不是现代主义的。
后现代主义建筑理论大师查尔斯·詹克斯曾经表述过一种“激进的折衷主义”，其中多元混杂的历史性和装饰性是重要的特征。在潘松的霓裳系列中，我们恍惚可以看到这种意图的体现。
Impressed by fashion models’ towering coiffure, hazy looks, slender limbs and the cloudlike clothes, Pan Song has created a pile of artworks with bronze, cast iron, gild and lacquer, all scattering in his warehouse, in various sizes, of different colors, quite spectacular.
The tone of this series ---- aesthetic, flamboyant, and even a little adulatory and decadent ---- is obviously not modernism.
Charles Alexander Jencks，Post-modernist architectural theorist, has noted a “radical eclecticism” featuring multiplex historicality and ornamentalism. Such image seems to gleam in Pan Song’s “Rainbow Fashion Series”.
事实上，后现代主义的思想和价值判断十分驳杂，但他们却有一个共同的出发点，那就是对现代主义的不满。有趣的是，这种不满并不是像现代主义对古典主义那样以愤怒的、革命的激烈方式表达出来，相反，这种不满带着幽默的微笑，这种愤怒是一种“冷”愤怒。Cool已经成为这个时代最流行的审美判断之一。
后现代主义复古绘画就是这种“微笑不满”或“冷愤怒”的典型表现。它借复兴和再现古典主义，衬托出现代主义工业进化论的机械和僵硬、单调和无趣。于是画面从极少主义的硬边和大色域回到了古典技法描绘的裸体和衣纹，乍看上去甚至以为是卢浮宫的收藏。此外，把不同的造型元素和视觉符号直接混合在一起平行并置是后现代主义艺术语言的另一个重要方式，没有必然的逻辑联系，没有先进和落后、高级和低级的分别和判断，简单地说，就是成心的不伦不类。
Thoughts and values regarding Post-modernism are miscellaneous and diversified, though they share one common-ground, namely, the dissatisfaction about modernism. It is interesting that such dissatisfaction is not expressed ferociously in a way of rage or revolution as what the Modernism has done towards Classicism but, instead contrarily, in a disguise of humorous smile. Such rage is kind of “cool” which has become one of the popular criteria for aesthetic appreciation.
The Post-modernism vintage painting is the typical example of “dissatisfaction in disguise of smile” and “cool rage”; through revitalizing and reproducing classicism, it exhibits mechanism, rigidness, monotony and vapidness. Images in the picture have been shifted from hard-edge and special gamut as suggested by minimalism to nudity and intricate patterns as in Classicism, which will remind you of collections in Musée du Louvre. Besides, the juxtaposition of different molding elements and visual symbols is another important aspect of the Post-modernism artistic language: no logic relations, no distinction and discrimination between advance and backward, senior and junior; simply put, it is nondescript on purpose.
这是一种情结，也是一种手段。
潘松的霓裳系列有点象后现代主义复古绘画的中国服装雕塑版。或者说它们之间有某种内在的联系和吻合。这并不奇怪。今天的世界已经是一个文化全球化的世界。我们在中国北京可以通过电视和互联网看到全世界最新的信息，看到现场直播的体育比赛和时装发布。所以，国际思想潮流影响之下的艺术潮流和审美感觉，必然通过各种视觉渠道影响我们的流行和时尚。
This is a certain complex，and an approach as well.
Pan Song’s “Rainbow Fashion Series” are a bit like sculpture versions of the Post-modernism vintage paintings of Chinese fashion. In other words, they are inter-related and overlapped. It is no surprise. The world today has become one with globalized cultures. We are here in Beijing, however, we are able to get access to the latest news worldwide via TV and Internet, to watch sports contests or fashion shows via living broadcast. Thus, the artistic trends and esthetic tastes dominated internationally will inevitable find their way into our fashion through visual channels and alike.
在霓裳系列作品中，有一个梳着牛角发髻的女孩可以作为一个典型的个案。
首先她的身形和仪态令人联想到汉代颀长的侍女俑。有必要说明的是，潘松对汉俑很有研究，对中国传统文化从老庄到南怀谨亦颇有兴趣与涉猎。所以，在他的作品中我们能够隐约感到那种羽化升仙的道家神形。然而，汉俑贴身裹紧的服装在这里却变成了繁复堆叠的衣纹，蓬松的泡泡袖服饰风格带有巴洛克式的欧洲宫廷气息。这样两种元素混在一起已经“不伦不类”，但我们还可以读到另外一种元素，与宫廷的浮华和脂粉气相反，女孩高耸的单髻或好像牛角的双髻，令人想起北方的苍凉和寂寥，蒙古妇女的头饰、牧人帐房的马头琴、北欧的神话、浪漫主义和寒冷。
The girl with the bull-horn chignon in Pan Song’s “Rainbow Fashion Series” is apparently a typical case.
First, the girl’s silhouette and manners may remind you of the burial figures of tall handmaid from the Han dynasty. It is worth mentioning that Pan Song is much of an expert on Han burial figures, his interests in and study on traditional Chinese cultures ranging from Lao Tzu, Zhuang Tzu to Nan Huai-Chin. No wonder in Pan’s artworks we may catch a glimpse of figures of Taoist ascending to heaven and becoming immortal. However, the close fitting clothes appeared on Han burial figures have been substituted by a complicated stack of clothing lines, puff sleeve patterns with a Baroque atmosphere of European Court. The juxtaposition of above mentioned two elements is seemingly “far-fetched”, a third element appears though, contrary to the luxury and vanity of the royal court: the towering chignon or bull-horn hairstyle worn by girls remind you of barrens and loneliness in Northern China, Mongols women’s headwear, morin huur in the nomadic tribes’ tents, myths and romanticism as well as bitter cold in Northern Europe.
汉俑、巴洛克和北方神话的混合体，古典、时尚和雕塑的混合体，潘松正在寻找他的语言立场——在汉宫歌赋与西欧王廷之间，在当代服装时尚与后现代建筑的装饰性之间，在唯美冷艳与斑驳锈损之间，在贴金的物质性和大漆的历史性之间，他往返游移，并始终警惕着陷入唯美装饰小品的陷阱。
Mixture of Han burial figures, Baroque styles and Northern European myths, mixture of classicism, fashion and sculpture，these are the perspectives for which Pan Song is seeking ---- his thoughts drifting from Han Dynasty Rhyme to western ballads, from contemporary fashion to post-modernist decoration, from esthetic magnificence to rusty corrosion, from corporality of gilt to historicity of lacquer, Pan Song cautiously avoid the trap of seeking after aesthetic decoration.
必须保持对当代精神气质或文化元素的敏锐嗅觉，这一点服装设计师比雕塑家灵敏很多倍。但雕塑家的语言应该能够更有质量和密度。我把霓裳系列看作潘松雕塑创作一个真正意义上的起点。而这种内置于其中的模糊和游移，正显示了其潜在的张力和展开的可能。
Fashion designers, compared with sculptors, tend to be far more sensitive to the contemporary ethos and cultural elements; the latter, however, are apt to express them in a way with much more weight and density. The “Rainbow Fashion Series” are deemed to be a starting point indeed for Pan Song’s sculpture creation. The drifting thoughts embodied herein unfold to us his enormous genius and potential capacity.