《萬水千山》

一、《萬水千山》

尺寸：長450cm

材質(zhì)：銅

地點：北京國防大學(xué)

時間：2006年

在群雕《千水萬山》中，葉玉山通過截取紅軍長征的一個典型細節(jié)，總結(jié)了兩萬五千里“千水萬山”的艱辛歷程.這組雕塑展示了紅軍戰(zhàn)士在風(fēng)雪中長征中相互支持的場景。前兩名戰(zhàn)士的來訪和奮進，后方戰(zhàn)士的后退召喚，啟迪了我們長征隊的存在和“千水萬山”的漫漫征途。戰(zhàn)士們堅定而自信的表情，顯示了長征戰(zhàn)士們對革命勝利的信心。兩位女紅軍戰(zhàn)士在風(fēng)雪中相互扶持的場景，既展現(xiàn)了長征的艱辛與艱險，又展現(xiàn)了彼此的牽掛，這種悲壯的溫情展現(xiàn)了革命戰(zhàn)爭中的人性溫情。作品采用鑄銅的方法，形似有異。

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.

《紅軍突破湘江紀念碑》

二、《紅軍突破湘江紀念碑》  

尺寸：高1,500 cm、長4,000cm

材質(zhì)：花崗石

地點：廣西興安湘江之畔

時間：1993-1996年

軍隊在湘江的突圍，是2.5萬里長征的第一場戰(zhàn)役，也是犧牲了幾萬烈士的慘烈慘烈的事件。葉玉山采用大型石雕頭，直接從泥土中誕生，以營造觀眾與雕像沒有距離的親密感，并在雕像的大尺寸與實物之間產(chǎn)生巨大的反差。觀眾的個人比例，從而產(chǎn)生親臨現(xiàn)場的崇高感和悲壯氣氛。由巨大的粗糙花崗巖塊砌成的雕像，以及建在巨石雕像上的34米高的主碑，與群像上下呼應(yīng)，更強化了這種高貴悲壯的氣氛。石雕形成了巨大的懸崖狀墻壁，雕刻風(fēng)格多樣。輔以一個鏤空的開口和兩段“痕跡與意義相連”的斷壁，形成了中外雕塑史上前所未有的獨特雕塑形式。

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.

《中國工農(nóng)紅軍烈士紀念碑》

三、《中國工農(nóng)紅軍烈士紀念碑》（鄧小平題詞）

尺寸：碑高2300cm、每座頭像高450cm

材質(zhì)：花崗石

地點：貴州遵義

時間：1985年

“遵義紅軍烈士紀念碑”由四個紅軍烈士巨首直接組成紀念碑主體，紀念碑高30米，形成震撼力。 看完紀念碑，當(dāng)代雕塑大師劉開渠表示：“時空系列與主題完美融合，四顆巨石般的紅軍頭顱在觀眾視線中意外突兀，圓形楣增強 敘事。而特殊性起到喚醒主題的作用，星光照耀在它上面打破了沉寂，紀念碑的主體立于空心，猶如一把利劍。” 這是一件造型樸素，寓意深刻的作品。

“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.

《紅軍長征紀念碑》

四、《紅軍長征紀念碑》（鄧小平題詞）

　?。ㄈ~毓山與程允賢任創(chuàng)作組組長）

尺寸：碑高4,130cm、群像高1，480cm

材質(zhì)：花崗石、亞金銅   

地點：四川松潘

時間：1990年

松潘的“紅軍長征碑”，碑高50米，人物高10米。在《參軍子兵》的敘事浮雕中，有母親告別兒子，有妻子告別丈夫，有孩子在媽媽懷里告別年幼的父親。一家人痛哭流涕的幕后，是嚴酷的現(xiàn)實，也是人們翻身尋求解脫的決心。在《艱辛》的圓形塑像群中，紅軍母親在臨走前不久與嬰兒告別的那一抹催人淚下、悲痛欲絕的神情，為情感埋下了伏筆。紅軍戰(zhàn)士拋棄妻兒的“初衷”，不就是長征的意義嗎？與天地共存的崇高和諧，深植人心的細膩情感，將革命的“初心”還給了人性，是葉玉山英雄史詩中對人民的贊頌。

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.

《女紅軍衛(wèi)生員》

五、《女紅軍衛(wèi)生員》

（被當(dāng)?shù)厝罕姺顬椤凹t軍菩薩”，時常上香掛紅祭拜）

尺寸：高300cm

材質(zhì)：銅

地點：貴州遵義

時間：1990年

這是為長征中犧牲的紅軍女衛(wèi)生員豎立的紀念雕像。 生前，這位紅軍軍醫(yī)在救治當(dāng)?shù)厝罕姺矫媪粝铝嗽S多感人的故事。 葉玉山在制作這個紅軍女兵雕像的時候，選擇了給孩子喂藥的細節(jié)。 這種為人民著想、為人民服務(wù)的精神不正是紅軍革命的核心嗎？ 正是這種軍民精神，這種女衛(wèi)生員關(guān)愛民生的力量，讓葉玉山革命歷史雕像戲劇性地成為了人們自發(fā)崇拜的菩薩像！ 而通過它，不就是人性的力量嗎？ 《女紅軍衛(wèi)生員》成為葉玉山革命史詩贊頌的眾多作品中的經(jīng)典之作。

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.

《飛奪瀘定橋群雕》

六、《飛奪瀘定橋群雕》

尺寸：高150cm、長400cm

材質(zhì)：玻璃鋼仿銅

地點：瀘定橋紀念館

時間：1975年；

在這組雕塑中，作者截取了飛越瀘定橋的壯烈場面的一部分。 無數(shù)紅軍士兵或匍匐前進，或持槍沖鋒，或投擲手榴彈或吹響沖鋒號角，盡顯飛越瀘定橋的快感。 片刻。 在這組雕塑中，進攻隊的士兵身體前傾，形成了強烈的活力感，給人一種勢不可擋的氣勢，整體氣勢上升，向前沖。 整座雕塑由洶涌的海浪穿插支撐，既說明了飛越瀘定橋的危險環(huán)境，也使整座雕塑得到了充分的支撐。 這個想法很巧妙。

 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.

《飛奪瀘定橋紀念碑》

七、《飛奪瀘定橋紀念碑》（與隆太成合作）

尺寸：人像高300cm，碑體高1000cm

材質(zhì)：銅、花崗石

地點：瀘定縣

時間：1983年

在葉玉山的數(shù)百部大型史詩作品中，這部作品堪稱小品。 但這是一個構(gòu)思巧妙的不朽創(chuàng)作。 作者當(dāng)然創(chuàng)造了兩個“飛奪瀘定橋”的紅軍戰(zhàn)士。 他們勇往直前的英勇形象，成為長征中無數(shù)紅軍戰(zhàn)士的形象符號。 至于瀘定橋，作者巧妙地剪出一根鐵索，形成了別具一格的紀念碑造型。 碑身由一串易橫豎、圓成方、分立的鐵索鏈組成。 兩尊紅軍青銅兵與身后的花崗石碑形成動與靜、橫與豎、青銅與花崗巖材質(zhì)的有趣對比，共同構(gòu)成精美別致的紀念碑造型。

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.

《忠魂曲》

八、《忠魂曲》

尺寸：1600cm×500cm×100cm

材質(zhì)：花崗石

地點：廣西烈士陵園

時間：1989年

這組花崗巖石雕塑采用無細節(jié)的大型結(jié)構(gòu)來塑造烈士形象，石材保留了原石的粗獷，突顯了人物的堅毅和力量。 作者關(guān)注并通常將每個單獨的頭部與松林和地球一起排列。 當(dāng)這個花崗巖般的形象直接從松林中的草叢中生長出來，連同石雕旁的草叢，石雕附近的松林，再加上花崗巖上的青苔，以及松樹背后的天空和白云 森林，可以說是天地石刻融為一體。 不僅有雕塑現(xiàn)場感的有機和諧，還有烈士精神與大地、山川、日月的倒影等永恒不朽的寓意。

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.