世纪末在时间意义上展示了东西方文化撞击、融汇的重要历史特征,特别是此时的世界艺术潮流,为我们观察中国雕塑走势提供了参照。 总的来看,世纪末中国雕塑主要是一种有共同否定目标,然而主张却极为多样、成分极为复杂,并带有很大实验性质的艺术现象。它们不象过去时代的艺术,在相当长的一段时间中受着一个正面美学原则的指导,而是在权威原则失去之后带有各自明显的探索性。如此,存在于艺术结构内部的个人性,便造成了感受,进而是表现上的多样性,看来,感受成为创作观念的基础,而不是相反。这正是中国雕塑当下的普遍状态,这种状态对旧有的雕塑模式、观念提出了尖锐的挑战,并带来强烈的思想的、美学的、观念的震荡。 面对如此活跃的、纷纭杂呈的雕塑现象,匆忙的给出一种评 The end of the century shows the important historic features of the collision between eastern and western cultures in the sense of time, especially the world art trends at this time, which provides a reference for our observation of the trend of Chinese sculpture. In general, Chinese sculptures at the end of the century are mainly one with the common negation target. However, the propositions are extremely diverse. Their composition is extremely complex and has a great experimental artistic phenomenon. Unlike the art of the past, they were guided by a positive aesthetic principle for quite a long time, but with their own distinct explorations after the principle of authority was lost. In this way, the individuality existing within the art structure creates the feeling of diversity and hence the diversity of expression. It seems that feeling becomes the basis of the concept of creation rather than the opposite. This is exactly the moment of the universal state of Chinese sculpture, which poses a sharp challenge to the old sculptural patterns and concepts and brings about intense ideological, aesthetic and conceptual shocks. In the face of such an active, diverse and varied sculptures, hastily gives a comment