First, there are few pure sculptures in ancient China, which is the main reason why most people do not attach importance to ancient sculptures in China. Western sculpture originated in ancient Greece. The ancient Greeks attached importance to the human body and shaped God into a perfect human being. The system, culture, philosophy and religion in ancient China are different from those in ancient Greece. Ancient China attached great importance to ethics, worshiped ghosts and gods, tended to focus on arts and crafts, and exerted artistic genius in ritual vessels and sacrificial vessels, which also formed a far-reaching tradition. Practical sculptures with decorative functions have been developed from handicrafts such as pottery, bronze, jade and lacquerware, which have occupied the mainstream position in past dynasties. They are divided into two categories, one is pure handicrafts, such as hieroglyphics, small craft carvings for display and so on. One is the decorative sculpture of buildings (including tombs), such as the stone carvings of tombs in the Southern Dynasties to ward off evil spirits listed in general appreciation textbooks, and the stone lions in Shunling in the Tang Dynasty. Practicality is not only reflected in decorative sculptures, but also in the art of funerary wares and religious sculptures. Funerary objects are funerary objects, among which sculptures occupy an important position, mainly figurines and animal sculptures. Textbooks generally take the terracotta warriors and horses in the burial pit of Qin Shihuang Mausoleum as an example. Small statues are substitutes for human sacrifices, and animal sculptures are also used to replace living bodies. They are very practical, not pure sculptures. The same is true of religious statues, which are used by believers to sacrifice, and Buddhist statues are the most representative. Pure sculpture is generally represented by commemorative sculpture. In ancient China, people used painting to commemorate people and things, but rarely used sculpture. For example, heroes of Han and Tang Dynasties and emperors of past dynasties were all painted on murals and scroll paintings. China has both the historical and cultural particularities of China and the artistic particularities of China. We can't refuse to know, understand and appreciate just because there are few practical sculptures.
Secondly, based on the above reasons, the decoration of ancient sculptures in China is quite outstanding. This is the birthmark brought by its birth in arts and crafts. Whether it's people or animals, whether it's the art of funerary wares, religious statues or architectural decorative carvings, it generally embodies the long-standing traditional decorative interest. The Buddha's symmetrical sitting posture and patterned robes make it show strong decoration. Compared with western realistic religious deities, the Buddha statues in China have an impersonal mystery because of their decorative virtual elements, but they also contain a kind of kindness. Because the decoration is different from the real life, it is also the ubiquitous artistic reality of China people in their lives, so it has this effect. At the same time, decoration is also very effective in enhancing the solemn atmosphere required by Buddha statues. The overall shape of the stone lion to ward off evil spirits is completely decorated and deformed, just like the decorative part on bronze or jade. The body is even covered with patterns to enhance this decoration. Decorative deformation treatment is one of the techniques of exaggeration and generalization. Stone animals treated in this way are often more dignified, brave and sacred than realistic carved stone animals, and can better play its role as architectural decoration. (Stone lions to ward off evil spirits are mostly ceremonial decorations of tombs, which are used to show the authority of the tomb owner. )
Thirdly, the ancient sculptures in China are obviously painterly. China ancient sculpture and painting are brothers, both born in primitive arts and crafts. Since the era of painted pottery, plastic painting has been complementary and closely combined. In ancient China, painting was paid much more attention than sculpture. Sculptures have always been made by craftsmen, and literati rarely participate. Only artisans were the authors of early paintings, but since the end of the Eastern Han Dynasty, scholars and even emperors have participated in painting creation, and since then they have become the backbone of China's ancient painting creation team. They are the rulers of the country, society and culture, and naturally they also rule painting, so that the status of painting is above that of sculpture, and they influence sculpture with their artistic concepts, so sculpture is infected with obvious painting. Its painting performance is that it pays attention not to the volume, space and block surface of sculpture, but to the rhythm and rhythm of outline lines and human clothing lines. These lines, like painting lines, have undergone a high degree of scrutiny, generalization, refining and processing, reflecting the shape of outlines and clothing lines with rich changes in block surface and space, which is completely different from western classical sculpture. The latter has a strong sense of volume, while the former has only a great relationship with volume, and most parts are flat. Sometimes intaglio lines are used to express the wrinkles of skin and clothes on the plane, but there is still no three-dimensional effect, only the plane effect of painting. Therefore, the surface of sculpture is usually smooth, and there are not as many subtle changes in light and shade as western sculptures. Starting from this feature, China's sculptures have been handed down from generation to generation. Up to now, most folk craftsmen still like figure painting, first hook the draft of figure line drawing, and then copy it into sculpture. Some people sketch directly on hard materials and then carve them. It is understandable to create a sculpture by painting. The ancient sculptures in China are very picturesque, with oriental flavor, which conforms to the appreciation habits of ancient China. They look at sculpture art from the perspective of painting art.
Fourthly, another feature of China ancient sculpture is imagery. Western sculpture has been trying to imitate and reproduce nature since ancient Greece, which is very realistic. China's sculptures and paintings left the mother of arts and crafts very late. Chinese painting, whether meticulous or freehand, is not as accurate as western painting in sketching and depicting objects. It is mainly based on the impression gained from observation and experience, plus imagination, which is beautified through subjective processing and keeps a considerable distance from objective objects. The concepts of China sculpture and Chinese painting are the same, which runs through the whole history of ancient sculpture. Although the Terracotta Warriors in Qin Shihuang's Mausoleum show higher realism than other times, they only focus on the head description of the Terracotta Warriors, and the images are only divided into several types. Not everything is different, but all the body parts are enjoyable without exception. No matter how realistic the head is, it can't be compared with western sculpture. Just like Chinese painting, it is as detailed, deeper and more subtle, and it still belongs to image modeling in essence.
5. The concise language of China ancient sculptures is another artistic feature derived from images. China ancient sculpture never invented the plastic arts of western sculpture to accurately shape objects. It is based on feelings and understanding, using the economic language like Chinese painting, which is concise, lively, twice the result with half the effort and thought-provoking, and often gives people fashionable, enjoyable and enjoyable artistic enjoyment. Exaggeration or even deformation to emphasize the charm of people and animals is a widely used technique, and the Sichuan rap figurines and stone beasts in Huo Qubing's tomb in Han Dynasty are the most representative. Western modern sculpture, contrary to traditional realism, pursues the variability of sculpture language and the freedom of sculpture space, and is not enslaved by objective images, making artistic creation more pure. In fact, China ancient sculpture has reached the artistic realm of the variability of sculpture language and the freedom of sculpture space. The stone beast in Huo Qubing's tomb adopts the technique of "picturing according to the situation", and makes full use of the natural shape of rock that reminds people of animals, and only carries out minimal artistic processing, so that the shape of the stone beast shows the freedom of space, rather than haggling over the shape.
6. Since China's ancient sculpture is an image, it pays attention to "vivid with form", and it must also pay attention to the description of the head, just like China's painting. The ancients in China believed that "leaders are shrewd masters". (Huang Di Su Wen) "The head, where God lives, is as round as the sky." From the primitive times, the craft decoration paid special attention to people's face or head, which should be one of the reasons why the ancient plastic arts in China developed to pay special attention to vividness. This concern has run through thousands of years. Until today, in folk sculptures and peasant paintings, the head is still the first part of the artist's performance. Parts of the human body other than the head are considered subordinate and unimportant. In this way, in China ancient sculpture and painting, big head and small body gradually became a habit. If the relationship between the head and the body is not handled well, it will inevitably lead to uncomfortable visual characteristics, which is unnecessary for the ancients to hide. However, excellent works often shift people's attention from attracting short boards to depicting wonderful avatars. In addition to the head, rhythmic body lines are used to exert aesthetic feeling, and it is not the accurate skill of proportional structure that infects people, but the vivid beautification. The giant Buddha, the Buddha-worshipping statue and the Lux statue in Fengxian Temple in Longmen are all serious, but they are still beautiful, which is a typical illustration of this feature of ancient Chinese sculpture.
Seven, China ancient sculpture style often embodies the ancient philosophy of China. Influenced by the Confucian philosophy of advocating destiny, China's art is embodied in lofty, solemn, magnificent, solemn and elegant aspects. Taoist philosophy advocates nature, but it is characterized by elegance, boldness, simplicity, simplicity, indifference, innocence and childishness in art. Both Chinese painting and sculpture have the style characteristics of these two systems, such as Buddhist statues and tomb sculptures, which generally have the style of the former system, and the giant Buddha in Fengxian Temple in Longmen is the most typical. It was built at the expense of Wu Zetian in the Tang Dynasty, which embodies the spirit of an emperor. Its style must emphasize loftiness, solemnity, respect for mu and elegance. Most figurines and animal sculptures in the art of funerary wares belong to the style of the latter system. They are closely related to life, pursue nature and have a simple and lovely style. Both have their own interests and advantages. Chinese painting and sculpture, on the other hand, are interested in returning to nature and maturity, pursuing an inner beauty, an original beauty and an ingenious philosophical spiritual realm.
Eight, a large number of ancient sculpture heritages in China belong to Buddhist statues, and Buddhist art has its own special rituals.
Trajectory, forming its own characteristics. Buddhist art originated from ancient India, and Buddhist sculptures in China originated from the Buddhist sculptures of Gandhara, mathura and Kedu in ancient India. In the process of learning imitation, China artists gradually transformed it, which not only retained some original styles, but also embodied more China characteristics. The body movements of Buddha and Bodhisattva, especially gestures (called "handprints" or "imprints") have different meanings. Various Buddhist figures have different shapes according to their identities (for example, some have three heads and six arms, some have thousands of hands and eyes), different clothing signs (for example, Buddha and Lohan wear simple robes, while Bodhisattva wears gorgeous clothes), and different postures (for example, Buddha stands after receiving Buddha, while other Buddhists are sitting). If you don't understand, it's easy to think that Buddhist statues are grotesque and similar.
Nine, China artists in the process of learning to imitate, gradually transform them, so that they not only retain some original styles, but also more reflect the characteristics of China. The Indian Gandhara Buddha statue was influenced by the classical sculpture in the Hellenistic period, and there was also an evolution process of localization of sculpture. Therefore, when appreciating the ancient Buddha statues in China, comparing them with the ancient Greek and Indian sculptures will help us to deepen our understanding and understanding of their aesthetic differences. At the same time, we need to understand the ritual of Buddhist statues. The Buddha statue mentioned above, with two ears and two shoulders, hands over the knees, is self-disciplined. The Buddha statue has the image of the so-called "thirty-two phases" and "eighty kinds of goodness", with two earlobes and two shoulders and hands over the knees. Another example is the blue phase of snails, the bun on the top (not an ordinary bun) and the fine phase between the eyebrows, which can be expressed through plastic arts, and the carving must strictly meet the requirements. The body movements of Buddha and Bodhisattva, especially gestures (called "handprints" or "imprints") have different meanings. Various Buddhist figures have different shapes according to their identities (for example, some have three heads and six arms, some have thousands of hands and eyes), different clothing signs (for example, Buddha and Lohan wear simple robes, while Bodhisattva wears gorgeous clothes), and different postures (for example, Buddha stands after receiving Buddha, while other Buddhists are sitting). If you don't understand, it's easy to think that Buddhist statues are grotesque and similar.
Introduction-
The development history of China sculpture art is a microcosm of the development of the Chinese nation, and it is also a microcosm of individual self-consciousness from awakening to self-consciousness. In prehistoric remains, we saw the awakening of self-consciousness, in the modeling of the Spring and Autumn Period and the Warring States Period, we saw the awakening of individual dignity consciousness, and in the Han Dynasty, we saw the awakening of moral concepts and freedom consciousness. In the subsequent development, the secularization tendency is closely related to the establishment of personal values. Sculpture itself, derived from the ancient meaning of witchcraft, can also carry profound spiritual content in the early days. However, with the continuous growth of personal self-awareness, the original spirituality of sculpture is less and less, and whether it is mausoleum sculpture, funerary objects or Buddhist statues, it is developing towards secularization. This kind of development came to a dead end in Ming and Qing Dynasties because the concept and technology were basically closed.
The impact of western civilization on China's traditional culture is the premise for the tradition to gain new vitality; So is the traditional sculpture in China. Because of this new influence, when the traditional sculpture in China comes to an end, we can see new hope. Modern sculptures in China are basically shaped according to western concepts, which are obviously different from traditional sculptures in China. No matter what the level of these new works is, at least the language of sculpture is relatively pure, and it is indeed different from the Ming and Qing Dynasties.
Contemporary Sculpture Art in China
Introduction-
The main force of contemporary sculpture in China is the vast number of folk sculptors, who have inherited and developed China's sculpture art tradition and created a large number of works. They have a complete set of traditional expression methods, which are rich in forms and wide in subjects, and have always been loved by the masses.
Now it is mainly introduced as follows: ceramic sculptures in Shiwan, Guangdong and Jingdezhen, Jiangxi. Ancient historical figures created by artists, such as statues of great poets Qu Yuan, Du Fu and Li Bai, are all quite successful works. In recent years, The Monk and His Party, created by the old artist Liu Chuan, shows the moment when outstanding astronomers in the Tang Dynasty observed the universe. The works have both form and spirit, simple and calm, rich in color glaze and strong local style. Ceramic sculpture is a popular art with the advantages of easy to copy in large quantities, low price, bright and beautiful colors and not easy to fade. Small colored sculptures are generally called "clay figurines" or "clay dolls", and they are also a popular folk sculpture art, with Huishan Clay Fighter in Wuxi, Jiangsu Province and Clay Fighter Zhang in Tianjin, Hebei Province being the most famous. Huishan clay figurines are famous for their themes such as "Daafu", "Shouxing" and "Renxian". Now it has expanded its contents, such as general harmony, jy, Dr. Dai and so on. In recent years, The Romance of the West Chamber, written by Chen Gang and Zhang Xiaoquan, has developed and improved on the basis of inheriting the tradition of Wuxi clay figurines, and is an excellent work. Tianjin clay figurine Zhang Caisu has a history of 140 years. It was founded by Zhang Mingshan, and now it is the third and fourth generation. Famous artists include Zhang Jingzuo, Zhang Ming and Zhang Yue. After liberation, he constantly brought forth the old and created many new works, such as Cai Wenji, Stepping on a Thousand Miles of Snow on the Plateau, Jiang Menshen, Fighting Tigers with Song Wu, Landmines Blooming, Particles Returning to the Public and so on. Zheng is a famous color plastic artist. He absorbed the strengths of various schools and created his own unique artistic styles, such as Lin Chong and Hate. The common characteristics of these colored sculptures are: exaggerated modeling, bright colors, full of life interest and fascinating. Ivory carving has long been a favorite of emperors, nobles and rich people. After the founding of the people's Republic of China, it also turned to serve socialism. Guangdong tooth carving is famous for its hollowing-out skills for nearly 300 years, and it is good at carving multi-layer tooth balls, flower boats, lanterns and dragon boats. In recent years, artists have carved a 4 1 layer special-shaped ball "going to the world" by using carving and flower-piercing techniques. This work is novel in design and fine in workmanship. Fairy tales are engraved on the surface of the moon-shaped sphere, and each layer in the sphere is hollowed out with exquisite patterns, which are varied and free to rotate. A group of characters under the ball depicts the touching scene of the Goddess Chang'e flying to the moon rushing to the beautiful world with fairies singing and dancing. The work symbolizes the prosperity and beauty of the great motherland, arouses Chang 'e's yearning and praises the superiority of the socialist system. The large-scale tooth carving "Princess Wencheng enters Tibet" of Nanjing Craft Factory created forty or fifty characters. Princess Wencheng is riding a horse, with a dignified and beautiful image; Songzan Ganbu is handsome and mighty, with a smile and a finger in front; Escort guards ride 14 horses with different shapes as the team leader; Followed by 19 maids who are playing singing and dancing. This is a masterpiece of large-scale group carving, exquisite and gorgeous, complicated but not chaotic, with prominent theme and vivid image. Dongyang woodcarving is good at relief and hollow carving, which is suitable for the decoration of hanging screens, furniture and buildings. For example, "Plateau Martial Arts" is a good work in traditional style, with touching pictures, exquisite carvings and vivid characters. Fuzhou longan wood carving is good at expressing traditional story characters and birds and animals. For example, Lin Youcai's Dong Fangshuo is based on folklore. With skillful knife work, the author depicts the image of the mythical old man who is optimistic, humorous, humorous and slightly confused. His body leans forward slightly, and the boy monkey 7 1 is carved at the gap in front, which makes the composition of the work full, strengthens the firmness of wood carving and shows the artistic characteristics of Fujian wood carving. Qingtian stone carving in Zhejiang province is rich in stone color, exquisite in hollowing out technology and neat and healthy in knife work. Lin Yaoguang's "Ben Ma Tu" uses the natural color and texture of materials to carve a galloping horse, which is a large-scale masterpiece with ingenious conception, vivid modeling and skillful technique. There are Shoushan stone carvings in Fujian and Guicui stone carvings in Guangxi, which are good in stone quality, rich in color, exquisite in knife work and have their own characteristics. In the 1920s and 1930s, both Beijing Art Institute and Hangzhou Art Institute had sculpture majors. Some sculptors who returned from studying sculpture in France, such as Hecheng. Zhou Xiaoding, Wang Linyi, Hua Tianyou and Ceng Zhushao all taught in these two schools, so western sculpture methods were introduced to China. After liberation, the National Academy of Fine Arts opened the sculpture major, trained a group of professionals engaged in sculpture work and created a number of excellent sculpture works. Liu Kaiqu is a famous sculptor and art educator of the older generation in contemporary China. Sculpture creation began in 1930s, and early works such as The House of Workers and Peasants showed the image of workers, peasants and soldiers. This attitude of taking the working people as the theme and praising the working people is very valuable in old China! After liberation, under the guidance of the party's literary and artistic policies, he created many works reflecting the people's revolutionary struggle, the most representative of which are "Crossing the Yangtze River Successfully" and "Supporting the Front Line". He created the true image of the people's heroes and working people with skillful artistic skills and concise techniques, and was welcomed by the people. The outstanding sculptures since the founding of the People's Republic of China include ten reliefs of the Monument to the People's Heroes, which reflect the history of China's arduous revolutionary struggle to overthrow the three mountains over the past 100 years. Sichuan fine arts institute teachers, folk artists and young sculptors created large clay sculptures in Dayi, Sichuan. It consists of six parts: wheat rent, rent inspection, struggle, settlement, forced rent and resistance, which shows the bloody history of peasants' cruel exploitation, oppression and resistance in the old society. In addition, Wang Chaowen's Liu Hulan, Xiao Chuanjiu's Lu Xun, Zhang Chongren's Guerrilla Heroes and Pan He's Hard Times all have certain influence among the masses.
Introduction-
Sculpture is inseparable from the pioneering efforts of generations of sculptors from its early functionality (direct use value) to its functionality and artistry in its development stage, and then to its modern form as a pure art discipline! Without their efforts, there would be no modern sculpture in China today!
On the Survival and Development of China Sculpture
The function of early sculpture is dominant, which can be traced back to the way of life of primitive humans and their ignorance of many expressions. They instinctively carved some abstract symbolic language on some branches, horns and rocks to express their thoughts, feelings and living conditions at that time, or to express a wonderful story at that time. For example, the discovery of the rock relief "Venus with Horns" by Laussel, France in 30000 BC is a typical example. The relief records the story of a woman holding an animal horn in her left hand and praying for a bumper harvest and good luck. We sigh that it is incredible to have such modeling ability and portray vivid works in any era. China has also unearthed a large number of ceramic ladies-in-waiting, the most representative of which is the Terracotta Warriors and Horses. It can be said that the starting point of making such a huge sculpture group is to serve the rulers' own thoughts, and its functionality is that Qin Shihuang wanted to have the dominant position of commanding thousands of troops as when he was alive. The development of modern sculpture art has changed from functionality and practicality to artistry, and modern sculpture art pays more attention to its internal value and external performance.
The development of sculpture and the appearance of different styles in different periods are directly determined by the constant changes of people's aesthetic standards in different periods, and are restricted and influenced by many factors such as politics, economy and cultural thoughts of an era. For example, during the prosperous Tang Dynasty in ancient China, people pursued "being fat is beauty". At that time, people were more open-minded, so the tri-color and painted pottery ladies in the Tang Dynasty pursued charm and beauty, and the use of colors was rich and bold. It can be seen from this that people's aesthetic concepts and expressions in different times are consistent. Every era has its products, and sculpture, as one of all things, should also follow this principle, otherwise it will be abandoned and forgotten. Although sculpture itself has its own characteristics, its existing form and style are closely related to people's ideas, customs and aesthetic concepts. For example, at the same time, the artistic style of sculpture in China is quite different from that in Europe, America, Latin America and Africa.
From the beginning of 20th century to 2 1 century, China's art developed rapidly, and Chinese and foreign art absorbed and merged with each other. Starting from the older generation of artists such as Xu Beihong, Lin Fengmian and Liu Haisu, foreign art forms and styles were introduced to China, and the land of China has been boiling ever since. A group of knowledge-hungry artists devoted themselves to pioneering and innovative art, and the sculpture art naturally made unprecedented progress and development. From the previous figurine modeling, Buddha statue making to the study of human anatomy, from the traditional freehand brushwork to the practice of realistic modeling, sculpture has been provided as a special topic to a group of young people who love sculpture, and sculpture has also raised the artistry to a depth! After the founding of New China, the development of sculpture is the same as other art forms. A series of sculptures have appeared, such as erecting monuments to commemorate martyrs and eulogizing the motherland. The most representative work is the relief on the Monument to the People's Heroes. These magnificent works expressed people's feelings and wishes at that time. During this period, the sculptures in China were greatly influenced by the sculptures in the former Soviet Union, and the sculptures pursued a large area and a large number. The emergence of this form is directly related to the political background at that time. Nowadays, the development of sculpture can be described as a hundred flowers blossom, and sculptures of various styles appear in front of the public, from the "Star Art Exhibition" of 1979 to the present.
Introduction-
In less than 30 years, China's sculpture has gone through a century or even longer stage of sculpture development abroad. It can be said that the current sculpture art has got rid of the era of functionality, and has been transformed into thinking and expression from the artistic angle and conceptual angle of sculpture itself. This development is unprecedented!
Post-modernity in China's Contemporary Sculpture
China's sculptures had a real sense of modernity and postmodernism in the 1990s, which was the fundamental difference from China's modern sculptures from 1949 to the end of 1980s. 1949 from the end of 1980s, the modernity of modern sculpture in China was mainly reflected in the consciousness of political subject and the symbolic vision of modern political society, and this mainstream tendency was the sculpture with political theme. But it always happened after 1990s, and sculpture was placed in the category of international contemporary art and the development background of global culture. This change makes China sculpture truly contemporary and avant-garde, or it has a real contemporary sculpture. At the end of 1990s, an important change of contemporary sculpture in China was that the postmodern pop form was widely adopted by young sculptors, such as Li Zhanyang and Xu. Liu Jianhua's creation is intended to embody a kind of moral uncertainty experience in the materialistic era. By copying objects such as sofas and women's bodies, he combined them into an allegorical vocabulary. Li Zhanyang's sculpture is a combination of neo-realism and pop sculpture, which records the realistic scenes of new folk living spaces such as ballroom, karaoke and massage room. Xu didn't graduate from sculpture department, but the colored painted pottery sculptures he created in the late 1990s are undoubtedly important postmodern works.
Postmodern sculpture and pop-style sculpture, which had real significance in the late 1990s, were closely related to the development of China's society and art. On the one hand, the cultural structure of China society has entered a period of diversification, and business spirit, material consumption and popular culture have really become daily life, which provides a visual experience and a meaningful background for the emergence of post-modern sculpture. The reuse of traditional sculpture in modeling and painting is not only the need of realism, in fact, the way of new realism and pop art shows that contemporary sculpture tries to return to the moral reflection and self-analysis of social culture in the 1990 s on the level of visual symptoms. Pop-style sculpture creation is innovative in the use of sculpture colors and materials. In the era of Nine Sites, the practice of pop color style in contemporary sculpture actually surpassed that in avant-garde painting. It is worth mentioning that the combination of Jingdezhen ceramic art and pop style with Xu Jiang made China's concept of ceramic art move towards the real concept of contemporary ceramic art. An important practice of contemporary sculpture in the 1990s is to re-recognize the realistic modeling of sculpture. The combination of realistic sculpture, conceptual art and pop art makes contemporary sculpture in China find a way to combine modeling with avant-garde, which is also the trend of international contemporary art in 1990s. After China's sculpture practice in 1990s, the concept and popularization made the contemporary sculpture in China truly have a pioneering and contemporary international cultural background, which is essentially different from the concept of modern sculpture in China in the 20th century, and it is also a sign that the concept of contemporary sculpture is truly established. In the 1990s, China's sculptures completed the transformation from modern themes to modern and post-modern sculptures.
Conclusion:
Everything in nature has its reasons. In terms of materialist dialectics, "the existence of anything has its value." Sculpture, as an art discipline, is gradually known and even understood by the world. As an art sculpture, it appeared much earlier than other art forms, which has a very direct relationship with people's instinctive reaction and expression. From the earliest primitive "knotting notes" to totem activities, we can see that sculpture is indeed everywhere in people's lives in sacrificial ceremonies. Here, I am not tracing back to how sculpture takes precedence over other art forms, but expounding the existing way of China sculpture and its development from ancient times to the present.
All the above viewpoints are not isolated, they are interrelated. When we appreciate China's sculptures, we need a comprehensive understanding before we can draw a reasonable conclusion and admit that they do have many benefits. Perhaps characteristics are not necessarily advantages, but with characteristics, an art has the reason and value for its existence and development. China's art, including China's sculpture, stands out among the world's art because it has many unique features. These characteristics have been recognized and respected by the world.
The existence and development of an art form is directly related to the development of a country. So there will be a short-lived sculpture, and the sculptor's works will appear from a new form, gradually disappear and be forgotten, which can be said to be unprecedented. What I want to say is that there are many schools of modern art. Whether it can exist or disappear depends on whether it can meet the tasks entrusted to it by the times and whether it can guide and promote the development of sculpture! The artistic forms and styles of sculpture that can be handed down have stood the test of time. In today's various sculpture forms, artists who pursue the artistry and vanguard of sculpture only account for nine Niu Yi hairs, while most sculptors run after others. Inheritance and innovation, development and progress need our constant practice and constant thinking to complete. China's sculpture art will keep pace with the times, and what we need to do is not to stop and look far, but to observe with a pair of "eyes" that are good at discovering!
-A pair of "sculpture eyes"
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