人类文明的肇端,即有“雕”与“塑”的痕迹。纵观古代中国雕塑,其间自始至终蕴含着诚挚与内涵之情;明晰与幽深之理;生动与凝重之美,是“天人合一”的哲学观与“气韵”的造型美学观在物质材料上的显现。“自然”本是个大艺术家,艺术家也是个‘小自然’。艺术创造的过程,是物质的精神化;自然创造的过程,是精神的物质化;首尾不同,而其结局同为一极真、极美、极善的灵魂和肉体的协调,心物一致的艺术界。作为与自然息息相通的雕塑艺术,正如先秦《考工记》卷上中所述“天有时,地有气,材有美,工有巧,合此四者,然后可以为良,材美工巧,然而不良,则不时,不得地气也。”论证了自然与艺术之关系。在自然空间方面,古人认为:地下载,地脉纵横交错;天上覆,天空星辰散布。整个宇宙弥漫着无影无形的力量,这种力量主宰着人的命运,操纵着世间万物 The beginning of human civilization, that is, “sculpture” and “plastic” traces. Throughout the history of ancient Chinese sculptures, there is always a sense of sincerity and intension inherent in the sculpture; the clear and deep truth; the vivid and dignified beauty is the philosophical view of “harmony between man and nature” appear. Natural is a big artist and an artist is a little natural. The process of artistic creation is the spiritualization of the material. The process of nature creation is the materialization of the mind. It is different from the beginning to the end, and the ending is the same as that of a very true, extremely beautiful and extremely good soul and body, Art circles. As the art of sculpture which is closely interlinked with nature, just as the volume of “Kao Gong Ji” in the pre-Qin period described in the article “There are times in the world, Coincidentally, however, bad, from time to time, impatient. ”Demonstrated the relationship between nature and art. In the area of ​​natural space, the ancients believed that: the earth was grounded and its veins criss-crossed; the heaven was covered and the sky was scattered with stars. The whole universe is filled with shadowless invisible forces that dominate the fate of man and manipulate all things in the world