在人类艺史中,雕塑是一个相当古老的“品种”。其起源与人类的祭祀和纪念活动密切相关,此外,与实用性器物结合也是它的重要功能之一。正象中国人会为自己的红山文化女神塑像、秦陵兵马俑、汉霍去病墓雕刻等等众多雕塑遗产而自豪一样,世界上几乎每一个民族也都有自己可以引为骄傲的经典雕塑作品。随着社会和经济的发展,世界各民族、各地区的文化发展前后距离也在不断加大,遂呈不均衡势态。雕塑艺术亦然。不容否认,在近、现代雕塑艺术的探索中,以欧美国家和地区为代表的西方文化区域扮演了十分重要的角色,尤其是在近八十多年以来,更是如此。两次世界大战前后,雕塑艺术无论在形态还是在观念上,都得到了前所未有的开拓,雕塑表现语言空前丰富。尤为重要的是,传统意义上的雕塑概念也在逐渐发生变化,最初是对传统雕塑中空间、体量、容量、线条、质感、光线和运动等要素的重新理解,其后就是观念上的变革,典型者如利用现成的直接摆放、组合,对庞大物体的包扎,对环境的大规模的“干预”,等等,这一切均难为传统的雕塑理论所能描述。中国的现代雕塑就是在这样一个大的背景下开始了自己的历程。经过一个时期的相对平稳发展后,中国的现代雕塑在八、九十年代进入了它的活跃期。综观其发展,虽然取得了不少成果,但是面临? In human history, sculpture is a rather ancient “variety.” Its origin is closely related to human sacrifices and observances. In addition, combining with practical utensils is also one of its important functions. Just as the Chinese are proud of their numerous statues of the Red Goddess of Culture, the Terracotta Warriors and Horses, the sculptures of the Han-Huo Going Tomb and many other sculptures, almost every nation in the world has its own classic sculptures that can be prized. With the social and economic development, the distance between the cultural development of all ethnic groups in all regions of the world and each region has also been increasing. As a result, there has been an unbalanced trend. The same is true of sculpture. It can not be denied that in the exploration of modern and contemporary sculpture art, Western cultural regions represented by Europe and the United States play a very important role, especially in the past 80 years or so. Before and after the two world wars, the sculpture art was unprecedentedly open up both in form and concept, and the language of sculpture expression was unprecedentedly rich. What is more important is that the concept of sculpture in the traditional sense is also gradually changing. At first, it was a re-understanding of the elements of space, mass, capacity, line, texture, light and movement in traditional sculpture, followed by conceptual changes Typical examples such as the use of ready-made direct placement, combination, bandaging of huge objects, large-scale “interventions” for the environment, and others are all difficult to describe by traditional sculpture theory. China’s modern sculpture is in such a large context began his own course. After a relatively stable period of development, modern sculpture in China entered its active phase in the 1980s and 1990s. Looking at its development, although a lot of achievements have been made, are they facing?