Sculpture is a feeling

Time:2016-04-21 00:00:00

We not only need an activity space that can walk, sit and lie, but also a feeling space that can satisfy our spiritual desires. However, the establishment of this space can be said to have existed before the appearance of people. For example, in this large courtyard where we live—anywhere on the earth, either mountains or plains, or Linze or Gobi ... waiting for the space sensation in this world—after the appearance of people, people from mountains, From the tree, from the water, from the cloud, you will naturally appreciate and transform the feeling of the original space. People not only realize that this space can walk and sit, but also realize that this space can empathize and express emotions. Later, when people erected boulders, built houses, and built castles on the earth, the original natural space would no longer be the original look. Some of the original religious emotions that people initially surging stimulated people's great enthusiasm. This enthusiasm carried the aesthetic intention that people did not realize at that time, squeezed into this space, and just cut the natural space to have a human meaning. Houses and castles no longer only play a minimum role, but also become a result of "design" because of their particularity. Following this design is the "City Sculpture" that squeezes into the space. This "city sculpture", which naturally originated in the ancient Greek civilization, should refer to the works watched by people alive, not the items placed in front of the tombs of the dead.


After the city sculpture enters the space, although it is inevitably mixed with a certain religious meaning in the early architecture, it is after all a production with independent value, and this value (aesthetic) slowly becomes more and more detached. Opened the utilitarian burden at the initial stage, and more and more relaxed and freely spread the wings of beautiful muscularity, making itself a pure aesthetic object, and eventually a feeling in space, a kind of satisfaction that meets people's aesthetic psychology expectations a feeling of.


In fact, the space in which we are moving is like a huge ubiquitous pool that fills any place that can be filled. It surrounds us transparently, but we are still free to move, not only to move and feel. So this space has both great capacity and great plasticity. It is precisely based on the existence of this meta-creative opportunity created by God that architecture and sculpture can and must be squeezed in to create a purely aesthetic sense of space.


In a huge and infinite natural space, a stone, a tree, a city or even a mountain can be regarded as "points" of varying sizes. The space we feel is also supported, divided and constructed by these many points. The focus on "points" has become a pivot point for people to feel the space. Then the role of sculpture should be to provide a "point" where aesthetic attention can occur. From ancient times to the present, these "points" are constantly changing and are constantly being created in a way that feels fresh. But when we calmly think about the so-called "style" and "style" in the works in these different time series (that is, to temporarily filter out the "content"), then they are just pure form transformations, The transformation of pure visual style is just the transformation of the way of dominating space. Although the magnitude of this transformation is not "changing with each passing day" in the history of Chinese and foreign carvings, it is always necessary to seek a relatively new shell, even a little. But its general trend is first and foremost a breakthrough in the way of space control. Obviously, the "method" does not gain emancipation and freedom, and it is difficult to produce any substantial "content" progress and update. Of course, behind the work there is a large content of liberation "method", regardless of it. From this point of view, the new visual style is our goal. The sculpture moves towards the sense, and to establish a spatial sense with new visual stimuli should be our future direction of urban sculpture.


The most important and basic premise for establishing a new sense space (except for the author's artistic quality premise) is to first create a sensuous shape that is in fact dominating the space. To grasp a suitable shape in any particular space will always be a severe test for sculptors. Although it will never reach the point of absolute suitability, it is possible to see the differences between different sculptors. No matter how inevitable this difference is for sculptors, it is necessary to believe in yourself and throw your own sensuous shape into that space desperately—that is, to throw your feelings into space!


If we review our previous urban sculpture works, we have to admit that there are few elements to consider the space. Most of them try to perfect their own ups and downs in the way of indoor "sculptures on the shelf", and then take them out to have a relationship with the "space" ... I think that perfecting themselves should be the second, and perfecting their spatial relationship should be First and foremost. In other words, do n’t care about what it is or what it looks like. First put a sensuous shape into the space based on the feeling, use the feeling to define the space, and change a natural space into a suitable one. The aesthetic space is the primary key.


Naturally, it seems inexplicable to call the actual sculpture "feeling" and "sensual modeling". But if you look at the evolution of sculpture as a history of style or form (that is, domination of space), it is probably a history of sensation! From this perspective, the sphinx in ancient Egypt is also good, and Athens in ancient Greece It is good for Naxiang, its meaning is not just how perfect the sculpture itself is, but the sense of space that these things form in the overall "point" community with sufficient volume and shape relative to the space. The first thing they satisfy is the spatial relationship required by a large enough pyramid and a large enough temple. Identifying and striving to produce a suitable spatial effect is much more important than engraving detailed facial features and accurate anatomy! Suppose we erase the sphinx and the facial features and all details of the goddess Athena, a desert that is far away from people Or the feeling of space when looking far away from the sea has no effect. Although such a giant system and the subsequent thousands of years of master system still portray many details in detail, the value of the spatial sensation they create is far greater than the value of their own "complete" details. Although in the past we often indulged in the completeness and sophistication of the statue itself when we appreciate these fine works of art, and extract it from the space to study and speculate, but this is precisely the background of why the statue was taken out. Cause error. In our contemporary era, many works that do not consider the sense of space are constantly being produced, and we remarkably depict the eyebrows and eyeballs of the characters and standard nail covers at a height of tens of meters, completely forgetting that the life of the city sculpture is in space. The creation of feeling.


Although China is a country without the tradition of city carving, it should be said that there is no lack of creation with a sense of space. This is the ancient Chinese mausoleum carving, that is, the production of this item can be regarded as a space that creates a little aesthetic (in essence) in the natural space. However, you can also glimpse the relevant situations and actions of ancient Chinese carvings in controlling the space. 


It should be seen that the "gate" is the space frame carved in ancient Chinese tombs. The combination of them is centered on the Lingshan Mountain and spreads out in the shape of a cross. Each direction of extension is constructed as a "door" intention. Although most of the mausoleum buildings with real doors have disappeared, we can still feel the existence of such "gates" in some mausoleum sculptures such as Tang and Song, because they are set according to the layout of the building. of. The building disappeared, leaving a "door" pattern. This is the sense of space caused by these many "points" (sculptured individuals). We can not look at the specific shape and spatial dimension of the individual statues for a while. Only the whole of these "points" has divided the space into "doors". Of course, "doors" are not the purpose of this space, but only through them can people feel the sublime, solemn, mighty and other substantive space feeling behind this "door". The space here is combined, that is, it is not created by a certain sculpture or a few sculptures as the main body of the space, but is co-created in a cluster. Assuming that we restore these sculpture groups to the architectural group today, the "status" of these works is the "accessory" that resides on the ground, in the courtyard, next to the gate, and they belong to the tomb and tomb buildings. It is not independent, and it is not independent to construct space. This is the place where the ancient Chinese carvings have a pitiful relationship with the space! Although this is the result we look at with today's eyes according to today's situation.


Since ancient China never had city sculptures, sculptures rarely controlled the space as a creative sense space, and never occupied the space with sculptures. This is true in the overall sense, as is the individual. The individual characteristics of ancient Chinese sculpture generally tend to be harmonious, and the relationship between the individual and the space can be said to be an "embedded" relationship. Generally speaking, the "circle" on the overall outline of the individual body and the "slowness" of its face and face constitute a form that has a soft feeling from any side view. Such a shape is placed in space like a sphere floating in water. It seems to be able to roll around. The relationship between sculpture and space is at the level of sensation. It is in the conflict between the closedness of the outline and the spherical radiant force. In other words, the tension within the sculpture is greatly restricted in space. Although it can be felt as having a huge explosive force, the invisible and huge space can make people feel as if it is tightly surrounding the "circle", making people feel the space is huge and heavy. If the ancient Chinese sculptures are the media of the spirits of craftsmen, then we can see the stagnation and difficulty of this kind of movement. Although the "circle", which is crumpled into a group, has a strong and enduring core (this may be able to find a connection from ancient Chinese philosophy), it is ultimately an escape and self-defense to the real space, so We can only feel the quiet and attenuated atmosphere from the space feeling composed by such works, and there are few exciting and inspiring space feelings, and it is difficult to produce a relaxed and pure aesthetic pleasure . The huge shadow formed by the political complex behind the work always envelopes it, and it is difficult to change as a historical necessity.


If you compare it, the carvings in ancient Western China are almost completely opposite to those in ancient China. First of all, they had a public space that belonged to social citizens early, and they pushed the sculpture into the space early. Their carvings are not completely attached to the building as China's, and become a decoration under the command of the building, but they occupy an open site in the architectural complex, either standing alone in the center of the square, or simply standing in the middle of the square. At the top of the building, in short, the sculpture should be used to control the space independently and systematically, and can form an independent or cluster commanding height. It seems that there is another space above (outside) the building that belongs to the sculpture.


Although most of the carvings in Western history are mythological gods or kings and heroes of various dynasties, their significance is by no means for the dead, but for the living. So they modeled both gods and humans. There are both the humanization of various gods and the deification of various types of people; both Athena and athletes ... In addition to the blessing and encouragement to the living, these works are also highly sophisticated and elegant. It shows the aesthetic pursuit of the living people. In the age of considerable democracy in ancient Greece, things that could not represent the interests of the people and the best contemporary aesthetic level were difficult to be recognized. Therefore, their sculptures are "present world", and the spatial relationship created is also intimate, fresh and exciting. For example, the sculpture of the Caryatids Temple and a large number of courtyards, streets, theaters, sports fields, etc., always combine the eternity of the sculpture with the ephemeral nature of people ’s daily lives, and they never forget to use the created aesthetic space to influence people. I can always feel the humanistic atmosphere in the living space created by this architecture and sculpture, and can also renew the enthusiasm for survival. Not only do they see the work, but more importantly, they can breathe free, independent, peaceful, and friendly in this environment, with a human meaning and a life full of vitality!


From the perspective of carved individuals, it is not excessive that ancient Western sculptures use "cones" and "pillars" to express their overall characteristics. In a physical way of feeling, in the spirit of perseverance and challenge to the world, they naturally and instinctively gave the sculptured individuals the image of "cones" and "pillars" and penetrated into the space without hesitation! Sword and lighthouse in general. Not only reflects the people's will to conquer the space, but also reflects the spirit of calling the people and guiding the people to act actively! The appearance does not seek the "circle" of the outer contour in order to get along with the space (the invisible oppression of the statue) to get in harmony with There is no dispute, but the body stretches as much as possible and the clothes are fully smooth and sloppy. The clear ups and downs of the statue itself and the strong dynamics of the form have a clear directional impact in the face of the infinitely large space. The resulting spatial sensation is the outward extension of the statue as the base point. It can form a visual motion sensor network that folds in half with the surrounding buildings or other statues, and supports the space invisiblely, creating a feeling in the air. Of reality.


Looking back at the past today, the splendid city carving art in Western history has essentially laid the foundation for the current city carving art. For thousands of years since the fall of ancient Greece, city sculptures have always played an indispensable role in the living space of Westerners, a role that creates feelings. This kind of feeling is not the feeling of being passively seen after placing an object in the space, but the feeling that the space has a human meaning after the work actively participates. From the statue of Athena in ancient Greece to the Tragic Column in ancient Rome, to the Eiffel Tower in France, to the goddess of the torch in the United States, to the "motherland-mother" of the Soviet Union, etc. Yuntian's spirit supports the space mansion, and even the abstract sculptures that have evolved to today are all in the same vein. The creation of a purely aesthetic spatial feeling is becoming a major trend in urban sculpture today, and the relationship between architecture and sculpture is no longer the same as in the past, or one side belongs to one side or the two sides exist relatively independently, but the boundary between the two. It is blurring to a limited extent: sculpture is architecture, and architecture is sculpture, such as the Sydney Opera House. Their mutual integration makes the space of the sculpture more extensively extended, and at the same time makes the space of the building obtain a richer aesthetic effect.


The establishment of the sensation space should firstly clearly show that the natural space is dominated by multiple dimensions through sculpture, and as much as possible to make any one dimension have extensional hints. Secondly, based on this, it corresponds to the aesthetic psychology of the subject of sensation, which requires that the former must have the possibility of providing infinite space for sensation to the latter, that is, the sensed space is a "thinking" space. Still taking the Soviet "motherland-mother" as an example, it is a multi-dimensional domination of space, and the extension of the space direction is shown to be rich and sufficient, and its spatial radiation must be able to maximize the psychological space of the subject. Produce corresponding expansion. However, some works similar to those in China, such as the group portrait of Yuhuatai in Nanjing, although they are composed like a wall like a mountain, are still works with volume and no space. First, its spatial dimension is single-just upward, and secondly, the extension of its spatial orientation can not form a structural sensory network, so the tension that can be generated in the correspondence of people's psychological space is extremely thin and weak. Of course, these are two similar cases. In fact in today's society


Keywords: glass fiber reinforced plastic sculpture, stainless steel sculpture production, spiritual fortress, Brochuang sculpture design manufacturer, bronze sculpture and forged bronze sculpture, forged bronze relief mural, professional large-scale urban sculpture manufacturer, urban garden landscape, community sculpture, value sculpture, shopping mall fortress.

CONTACT US

Zhejiang Jinhua Borch Sculpture Arts Project Co.,Ltd

Ms Zhao:

+86-13646792266

Copyright: Zhejiang Jinhua Borch Sculpture Arts Project Co.,Ltd