The historical development of sculpture in spatial form

Sculpture needs to occupy a certain three-dimensional space. Generally speaking, the entity and space of the sculpture will form a relationship between the figure and the bottom. Of course, this relationship between the figure and the bottom is very different from the relationship between the figure and the bottom in the painting. The first picture and the first picture of the painting form an integral part of the work. The relationship between the first picture and the first picture of the sculpture has ambiguity and uncertainty. From a visual perspective, the relationship between the first picture and the first picture of the sculpture will change. Different people ’s visual habits will also affect the changes in the relationship at the bottom of the figure. Some people will feel that the physical influence has a larger space, while some people have the opposite. If the shape and proportion of the bottom of Figure 1 are different, the effect of the sculpture will be different. Moreover, the relationship between the sculpture and the space is not just the relationship of the bottom of Figure 1. Some spaces and sculpture entities form an inseparable whole and become indispensable in modeling. Missing element.

       The relationship between the sculptural entity and the space is objective, but the artist's active conscious use of space effects as a language in his creation does not always exist. In the art history of mankind, sculpture in the long river is mainly based on the simulation of objective objects as the main form of artistic expression. Although the eastern and western arts belong to different systems in terms of traditional sculpture modeling features, they are all used to complete narrative or preaching with images. Western sculpture modeling focuses on architectural mathematical relationships to create ideal biological objective objects; the East focuses on In the form of freehand brushwork, there is no departure from the objectively existing form.

       Space exists objectively, and for art that does not regard space as a modeling element, the space of sculpture is the gap between the periphery of the sculpture and the entity, and has no styling and aesthetic meaning to the work. The traditional sculptures of the east and the west are basically in the shape of clumps, and the shaping is the accumulation from the center of the entity. The shape that the artist pays attention to is the sculpture entity itself. All the space division and the Congress are formed unconsciously.

Of course, one cannot deny the existence of the use of space by traditional sculptures due to the unconscious use of space elements in the creation. The head, chest, hips, and limbs of ancient Greek sculptures are almost twisted in a staggered direction in order to occupy more space. This creates a larger space field, and the works are more infectious. Sometimes, the artist puts authenticity second for artistic effect. For example, Michelangelo's "Mourning Christ", if in reality the action of the Virgin Mary is unable to hold up the body of Christ, the body of the dead Christ can not maintain the posture that requires strength to involve, but the artist in order to make the image of Christ more Facing the audience, occupying more forward space in the body, and the arms and lowered head of the Virgin Mary are consolidated into an inward space, visual input, from which you can feel the safety and love of the mother ’s mind, such The space has independent modeling significance. There is no shortage of masterpieces that use space rationally in traditional Chinese sculpture. The stone lions in front of the Qianling in the Tang Dynasty are extraordinary. If viewed from above, the heads of the stone lions are different from the round shapes of the heads of real animals, and they are distributed in a trapezoidal shape from the tip of the nose to the ears. There is a strong sense of depth. In "Art and Visual Perception", Arnheim elaborated on the principle of this overlapping phenomenon causing a sense of space. Although the attempt to use the traditional sculpture art of the East and the West in space has no active consciousness, it has accumulated a lot of experience in the exploration of sculpture space for future generations.

Until the realism of the 19th century, the concept of sculpture always refers to a closed form with a physical existence. If the sculpture art before neoclassicism, romanticism and realism is formally occupying space, the sculpture art after Rodin shows the characteristics of space participation.

  In the second half of the 19th century, the exploration of artistic language became the characteristic of the era of art development, and more attention was paid to the study of ontology in understanding the laws of art. The Impressionist School explored the laws of light and color in painting, and for the first time regarded the form itself as the subject of creation. Rodin is a pioneer in the development of forms in sculpture. He is the first sculpture artist to take light and shadow as a creative element. The body of Rodin's works has a flowing vitality. This is because he used the convex and concave shapes to invade the space into the entity, making the space deeper, twisting and expanding, causing the light and shadow to jump, wave and diffuse. Increase the organic vitality of the work. Of course, the theme of Rodin ’s creation is still narrative, and the reproduction of reality is still the main goal of his creation. The use of space can only be a decorative embellishment, and the use of space by his students Buder and Mayor On the other hand, it is much more active. Buder's work fully occupies the three dimensions of the space, making the work have infinite tension; the space of Mayor's work is to twist the body in different directions to make the space flow in multiple directions, making the work stretch like in the wind.

At the beginning of the 20th century, the development of modernist art with cubism, futurism, and constructivism as the main aspect of sculpture truly realized the breakthrough of sculpture in space exploration. Cubism regards the interspaced and interlaced formal language itself as the expression of art, and makes the gap between the previous entities have real meaning. Constructivists tightly combine reality and void, and cut, twist, and enclose space into different shapes through the ever-changing composition of body, surface, line and other elements. The sculptural entity and space cannot only be used Figure 1 at the end to understand the relationship. Generally speaking, space is open to the outside, and constructivism gives space the concept of "negative space". "Negative space" means defined by a clear boundary, so that negative space has a fixed shape in the work and becomes Visual modeling elements. A basic subject introduced vision into the hole, making the space more continuous and tending towards infinity. The abstractist Brancusi's "Bird in Space" is a simple bow-shaped spindle. The elastic tension of the line and surface obviously interferes with the space. The objective static shape has the visual effect of continuous drift. The exploration of modern art in pure form makes sculpture obtain unlimited possibilities in the freedom of space application.

Sculpture art is developing in a more diversified direction. Whether in figurative or abstract sculpture art, artists generally take the space as an indispensable element of modeling in their creation. The core of subjective initiative in the use of space requires understanding the visual experience conveyed by different spatial shapes. These feelings can come from the visual experience of life. For example, deep caves can stimulate our desire to explore; basin-like spaces can make people feel warm and safe; gentle spaces can feel comfortable ... Jacmety's works are like souls wandering out of the shell, reflecting the loneliness and fragility of life. The lines of his work are inelastic and weak, the rough texture tightly attracts the space, and the peripheral force squeezes cruelly inward. Most of Henry Moore's people are transparent in structure, and he specializes in works that study the internal and external structure of forms. The negative space of Moore's work makes the structure of the work itself have independent vitality, not just the external form. The structure of his works intersects with the hollows, which makes the work feel vigorous.

The contemporary conception of art does not mean that the visual language of art loses its value. On the contrary, the diversification of art requires deep development in multi-directional exploration. New materials and technologies can inspire new forms of space creation and make the impossible impossible in the past; and conceptual art can also lead us to discover new forms of space from a new vision, so that we can better, Use space elements more freely.

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