《望夫石》唐·王建望夫处,江悠悠。化为石,不回头。山头日日风复雨,行人归来石应语。此后,在岁月漫长的打磨中,石雕艺术的创作水平不断地爬升。不同朝代,石雕在类型、样式和风格上都有很大变迁。不同的需求、不同的审美,始终在追赶和迎合着不同的社会环境。石雕的历史是艺术的历史,是文化的历史,甚至是一部生动的人类发展史。待至大秦一统的到来,石头开始比皇朝更有所恃。秦代《三辅黄图》里明确记载,曾有古代力士孟贲的石像被刻于咸阳横桥,修始皇骊山陵时亦刻下一对高达一丈三尺许的石麒麟。遗憾的是,这 “Wang Fu Shi” Tang Wang Jianwang husband office, Jiang Youyou. Into a stone, do not look back. Day wind and rain on the hills, pedestrians should return. Since then, in the long years of grinding, the level of creative art of stone carving continue to climb. Different dynasties, stone in the type, style and style have a great change. Different needs, different aesthetic, always catch up and cater to different social environment. The history of stone carving is the history of art, the history of culture, and even a vivid history of human development. Until the dawn of the arrival of unification, the stone began to rely more on the dynasty. Qin Dynasty “three auxiliary yellow map” clearly documented that there was a statue of the ancient Luximen Meng Ben was carved in Xianyang Hengqiao, Xiu Shi Huang Li Shanling also inscribed a pair of up to one foot three feet Xu Shi Kirin. Unfortunately, this