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摘要：文化是一个国家、一个民族的灵魂。文化兴国运兴，文化强民族强。没有高度的文化自信，没有文化的 繁荣兴盛，就没有中华民族的伟大复兴。文化更是一个民族的脊梁和灵魂，它铸造着 国家和民族的心灵和品格，一个民族有了文化自信，才能立于世界民族之林;人民有了信仰，国家才有力量，民族才有希望。而文化自信是促成这些目标的至关重要的因素。
Abstract: Culture is the soul of a country and a nation. Culture invigorates the country, and culture strengthens the nation. Without a high degree of cultural confidence, without the prosperity of culture, there will be no great rejuvenation of the Chinese nation. Culture is the backbone and soul of a nation. It casts the heart and character of a nation and a nation. Only with cultural confidence can a nation stand in the forest of nations in the world. Only when the people has faith can a country have strength and a nation have.
徐囯华
1959年生于北京
毕业于中央工艺美术学院装潢系，早年在中央美术学院油画系进修学习。
现为中国工艺美术学会雕塑专业委员会会员
中国工艺美术学会漆艺专业委员会会员
北京美术家协会会员
英国皇家雕塑学会会员
美国纽约画廊签约画家
雕塑作品《蒸汽机车》在美国火车站广场常年展示。
《群雕〉作品在北京台湖公园长期展示。
国家大剧院、冬奥会场地张家口均有作品被收藏。
2O21年签约美国纽约画廊。
2022年参加美国纽约国际艺术博览会。
展览作品入选109美国艺术家联盟展。
2023年参加美国纽约国际艺术博览会。
展览作品刋登在美国《世界周刊》杂志上。
Xu Guohua was born in Beijing in 1959. He graduated from the Decoration Department of the Central Academy of Arts and Design and later pursued advanced studies in the Oil Painting Department at the Central Academy of Fine Arts.
Currently a member of the Sculpture Professional Committee of China Arts and Crafts Society, the Lacquer Art Professional Committee of China Arts and Crafts Society, and the Beijing Artists Association; also a member of the Royal Society of Sculpture in the UK and a contracted artist with a gallery in New York, USA. The sculptural work "Steam Locomotive" is permanently exhibited at a railway station square in the United States.
The sculpture "Group Sculpture" has been on long-term display at Beijing's Taihu Park.
Works from both the National Centre for the Performing Arts and the Winter Olympics venue in Zhangjiakou are part of the collection.
In 2021, a contract was signed with a gallery in New York, USA.
In 2022, participated in the New York International Art Fair in the United States.
The exhibited works were selected for the 109 American Artists Alliance Exhibition.
In 2023, participated in the New York International Art Fair in the United States.
The exhibition works were published in the American magazine World Weekly.
跨界融通，艺贯中西——论徐国华的艺术路径与雕塑语言
在北京当代艺术版图中，徐国华是一位值得被更认真对待的名字。他并非那种热衷于自我炒作的“明星艺术家”，而是一位以作品说话、以专业立身的实力派创作者。从中央工艺美术学院扎实的装潢设计训练，到中央美术学院油画系的精进研修，再到最终聚焦于雕塑语言的深度探索，徐国华的艺术轨迹呈现出一条清晰的、从“广博”走向“专精”的学术路径。他的雕塑作品，既承载着中国传统工艺美术的材质智慧，又具备当代国际雕塑语言的开放视野，在中西美学的交汇处找到了独特的个人表达。
一、 学院渊源：工艺与纯艺的双重滋养
1959年出生于北京的徐国华，艺术启蒙阶段恰逢中国现代美术教育体系日趋完善的时期。他先后就读于中央工艺美术学院（现清华大学美术学院）装潢系与中央美术学院油画系，这一特殊的“双央美”背景，赋予了他两种不同却又互补的能力。
中央工艺美术学院的传统，强调的是设计思维、材质美感与实用美学的结合。装潢专业训练出的构成意识、色彩修养以及对平面与空间关系的敏感度，为他日后从事雕塑创作提供了异于纯雕塑家的独特视角。而中央美术学院油画系的学习，则让他掌握了严谨的造型能力、光影处理技巧以及对绘画性语言的深刻理解。
这种“工艺+纯艺”的双重基因，在徐国华的雕塑中体现得尤为明显：他的作品既有雕塑应有的体量感与空间张力，又在细节处理上流露出绘画般的笔触趣味与色彩层次。这是一种跨界的优势，也是他区别于单一背景雕塑家的辨识度所在。
二、 公共艺术：让雕塑走入城市生活
衡量一位雕塑家成就的重要标尺之一，是其作品在公共空间中的生命力。徐国华在这方面交出了一份扎实的成绩单。
雕塑作品《蒸汽机车》永久陈列于美国火车站广场，这并非易事。美国对公共艺术的遴选机制极为严格，一件来自中国艺术家的作品能够长期占据城市公共空间，意味着其艺术语言跨越了文化隔阂，获得了国际观众的普遍认可。蒸汽机车作为工业文明的经典符号，徐国华对其的塑造必然要兼顾历史记忆的准确性与艺术表现的升华——这是一道考验造型功力与主题驾驭能力的综合题。
同样，位于北京台湖公园的《群雕》作品，则是艺术家在国内公共艺术领域的代表性实践。台湖公园作为城市副中心的重要文化地标，其公共艺术品的选择代表了当代城市的文化品位。徐国华的作品能够在众多竞争者中脱颖而出并长期陈列，印证了其在主题性雕塑创作上的成熟度。
此外，国家大剧院、冬奥会场地张家口等国家级重要场馆均有收藏其作品，这进一步确立了徐国华在主流艺术体系中的认可度。这些收藏不是偶然的，而是其艺术质量长期稳定的必然结果。
三、 国际进程：从签约画廊到亮相纽约艺博会
2021年签约美国纽约画廊，是徐国华艺术生涯中的一个重要节点。纽约作为全球艺术市场的中心，其画廊体系的门槛极高。能够获得纽约画廊的正式签约，意味着艺术家的作品具备了在国际市场中竞争的商业潜力和学术说服力。
此后，他连续在2022年、2023年参加美国纽约国际艺术博览会，这绝非简单的“参展”，而是系统性、持续性的国际艺术布局。更值得注意的是，其展览作品被刊登在极具影响力的美国《世界周刊》杂志上——媒体背书是艺术家国际声誉确立的关键环节。同时，作品入选“109美国艺术家联盟展”，说明他的艺术获得了美国本土艺术机构与同行评审体系的肯定。
这一系列国际成就的意义在于：在全球当代艺术话语权长期由西方主导的背景下，徐国华以其扎实的造型功底和具有普世审美的雕塑语言，成功地“反向输出”了中国艺术家的创造力。他不是在迎合西方的“东方猎奇”口味，而是在一个平等的美学平台上对话。
四、 身份维度：多重协会背后的专业认同
从履历上看，徐国华拥有多重专业身份：中国工艺美术学会雕塑专业委员会会员、
漆艺专业委员会会员、北京美术家协会会员、英国皇家雕塑学会会员。每一个身份都不是虚名，而是专业共同体的认可。
尤其值得关注的是“英国皇家雕塑学会会员”这一身份。该学会成立于1904年，是国际上历史最悠久、学术标准最严格的雕塑组织之一。能够成为其会员，意味着艺术家的专业水准获得了国际同行的严肃评审。这与那些通过商业操作获得的“荣誉称号”有本质区别——它是专业共同体的背书，而非金钱交易的产物。
五、 综合评述：一位被低估的实力派
若用一个词概括徐国华的艺术生涯，那就是“扎实”。
他不追求风格上的哗众取宠，不沉迷于观念上的故弄玄虚，而是坚持以传统的雕塑语言、严谨的造型能力、深厚的材质修养，去塑造可被感知、可被欣赏、可与空间对话的作品。在当代艺术观念论盛行的今天，这种坚守反而显得珍贵。
他的路径给我们的启示在于：真正的国际认可，不是靠包装和炒作获得的，而是靠一件件经得起推敲的作品累积而成的。从北京到纽约，从台湖公园到美国火车站广场，徐国华用数十年的时间，完成了从中国工艺美术传统到国际雕塑舞台的从容跨越。
未来，随着更多公共艺术项目的落地与国际展览的持续深入，徐国华的艺术影响力有望进一步扩大。他是一位值得被中国当代雕塑史认真书写的艺术家——不是因为他制造了多少话题，而是因为他塑造了值得凝视的作品。
Cross-boundary Integration, Art Bridging East and West: On Xu Guohua's Artistic Journey and Sculptural Language. In Beijing's contemporary art landscape, Xu Guohua is a name deserving of greater recognition. He is not the type of "star artist" obsessed with self-promotion but rather a accomplished creator whose works speak for themselves and whose expertise is established through his practice. From his rigorous training in decorative design at the Central Academy of Arts and Crafts to his advanced studies in oil painting at the Central Academy of Fine Arts, and ultimately his deep exploration of sculptural language, Xu Guohua's artistic trajectory follows a clear academic path—from breadth to specialization. His sculptures embody both the material wisdom of China's traditional arts and crafts and the open-mindedness of contemporary international sculptural language, finding a unique personal expression at the intersection of Eastern and Western aesthetics.
I. Institutional Origins: Dual Nurturing from Craft and Pure Art Xu Guohua, born in Beijing in 1959, experienced his artistic awakening during a period when China's modern art education system was becoming increasingly sophisticated. He studied successively at the Decoration Department of the Central Academy of Arts and Design (now the Academy of Arts & Design, Tsinghua University) and the Oil Painting Department of the Central Academy of Fine Arts. This unique "dual-Central-Academy" background endowed him with two distinct yet complementary capabilities.
The tradition of the Central Academy of Arts and Design emphasizes the integration of design thinking, material aesthetics, and functional beauty. The compositional awareness, color sensibility, and sensitivity to planar and spatial relationships cultivated through its decorative arts program endowed him with a unique perspective distinct from that of a pure sculptor when pursuing his sculptural career. His studies in the Oil Painting Department at the Central Academy of Fine Arts equipped him with rigorous modeling skills, masterful light-and-shade techniques, and a profound understanding of pictorial language.
This dual genetic heritage of "craftsmanship + pure artistry" is particularly evident in Xu Guohua's sculptures: his works possess both the volumetric quality and spatial tension characteristic of sculpture, while also exhibiting painterly brushwork and layered color schemes in their detailing. This interdisciplinary strength constitutes what sets him apart from sculptors with singular artistic backgrounds.
II. Public Art: Integrating Sculpture into Urban Life One of the key measures of a sculptor's achievement lies in the enduring vitality of their works within public spaces. Xu Guohua has delivered remarkable accomplishments in this regard.
The sculpture "Steam Locomotive" is permanently displayed at a railway station square in the United States—a feat that was no easy achievement. The U.S. selection criteria for public art are exceptionally stringent; for a work by a China-based artist to endure long-term presence in urban public spaces signifies that its artistic language transcends cultural barriers and has gained widespread recognition among international audiences. As a classic symbol of industrial civilization, Xu Guohua's portrayal of the steam locomotive must balance historical accuracy with artistic elevation—a comprehensive challenge testing both sculptural mastery and thematic command.
Similarly, the sculpture installation "Group Sculpture" located in Beijing's Taihu Park stands as a representative work of the artist within China's public art scene. As a significant cultural landmark of the city's sub-center, the selection of public artworks at Taihu Park reflects contemporary urban cultural sophistication. The fact that Xu Guohua's piece has stood out among numerous competitors and been exhibited long-term demonstrates his maturity in thematic sculpture creation.
Furthermore, his works are housed in nationally significant venues such as the National Centre for the Performing Arts and the Zhangjiakou Winter Olympic venue, further solidifying Xu Guohua's recognition within the mainstream art establishment. These collections are not accidental but rather the inevitable outcome of his consistently high artistic quality over the long term.
III. International Journey: From Contract Gallery to New York Art Fair Debut The 2021 contract with a gallery in New York City marked a pivotal milestone in Xu Guohua's artistic career. As the global hub of the art market, New York's gallery system imposes exceptionally high entry barriers. Securing an official contract from a New York gallery signifies that the artist's works possess both commercial viability and academic credibility for international competition.
Subsequently, he participated consecutively in the New York International Art Fair in 2022 and 2023. This was far more than a mere exhibition participation; it represented a systematic and sustained international art strategy. More notably, his exhibited works were featured in the highly influential American magazine World Weekly—a key factor in establishing the artist's international reputation through media endorsement. Additionally, his inclusion in the "109 American Artists Alliance Exhibition" demonstrates recognition of his work by U.S. art institutions and peer review systems.
The significance of this series of international achievements lies in the fact that, against the backdrop of Western dominance over global contemporary art discourse for an extended period, Xu Guohua has successfully "reverse-exported" the creativity of China's artists through his solid sculptural skills and universally appealing artistic language. He is not catering to the Western preference for "Oriental exoticism," but rather engaging in dialogue on an equal aesthetic platform.
IV. Identity Dimension: Professional Recognition Behind Multiple Associations From his resume, Xu Guohua holds multiple professional affiliations: Member of the Sculpture Committee and Lacquer Art Committee of the China Arts and Crafts Society; Member of the Beijing Artists Association; and Member of the Royal Society of Sculpture in the UK. Each affiliation is not merely nominal but represents recognition by the respective professional community.
Of particular note is the distinction of being a "Member of the Royal Society of Sculpture." Established in 1904, this society ranks among the world's oldest and most rigorous academic organizations for sculpture. Membership signifies that an artist's professional competence has been rigorously evaluated by international peers—a distinction fundamentally different from honorary titles obtained through commercial means; it represents endorsement by the professional community rather than a product of monetary transactions.
V. Comprehensive Review: If one were to summarize Xu Guohua's artistic career with a single word, it would be "solid."
He eschews ostentatious stylistic flair and avoids deliberate conceptual obscurity, instead adhering to traditional sculptural language, rigorous formative skills, and profound mastery of materials to create works that are perceptible, appreciable, and capable of engaging with space. In an era dominated by contemporary art theories, this commitment proves particularly valuable.
The lesson from his journey is this: genuine international recognition is not achieved through packaging or hype, but rather through the accumulation of works that stand up to scrutiny. From Beijing to New York, from Taihu Park to the American Railway Station Plaza, Xu Guohua spent decades making a seamless transition from China's traditional arts and crafts heritage to the international sculpture stage.
In the future, with the implementation of more public art projects and the continued deepening of international exhibitions, Xu Guohua's artistic influence is expected to expand further. He is an artist worthy of being seriously documented in China's contemporary sculpture history—not because of the number of topics he has generated, but because of the works he has created that deserve contemplation.
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