园林雕塑制造雕塑与园林有着亲密的关系
Landscape Sculpture Manufacturing Sculpture and Landscape have a close relationship
雕塑不断作爲园林中的装饰物而存在，即便到了古代社会，这一传统仍然保存。与古代雕塑相比，古代绘画由于本身的线条.块面和颜色似乎很容易被转化爲设计立体图中的一些要素，因此在古代主义的初期，便对景观雕塑的景观设计开展发生了重要的影响，追求创新的景观设计师们已从古代绘画中取得了无量的灵感。而古代雕塑对景观的本质影响，是随着它本身某些方面的开展才发生的。
Sculpture continues to exist as an ornament in gardens. Even in ancient society, this tradition is still preserved. Compared with ancient sculptures, ancient paintings seem to be easily transformed into some elements in the design of three-dimensional drawings because of their lines, blocks and colors. Therefore, in the early days of ancient doctrine, they have had an important impact on the landscape design of landscape sculptures. Landscape designers who pursue innovation have gained immense inspiration from ancient paintings. However, the essential influence of ancient sculpture on landscape came into being with the development of some aspects of the sculpture itself.
1.是走向笼统。由于具象的人或物惹起人留意的是其形体自身，很难演化爲园林中空间要素的一局部，因此笼统化是雕塑成爲环境空间之要素的步。
1. To be general. Because the concrete person or thing attracts people's attention is its body itself, it is difficult to evolve into a part of the space elements in the garden, so generalization is the first step for sculpture to become an element of environmental space.
2.是要走出画廊，在室外的土地上停止创作。这里并不是指复杂地将博物馆中的作品搬到室外，这样做不过是恢复了雕塑的原本意义而已；也不只仅是指爲某个室外的环境创作特定的雕塑作品，使雕塑成爲环境中调和的一分子；更重要的是指那些在自然的土地上停止创作，将自然环境构成作品不可联系的一局部的艺术品，这样的雕塑与环境之间有了真正亲密的联络。
2. To get out of the gallery and stop creating on the outdoor land. This does not mean that works in museums are moved outdoors in a complex way, but that the original meaning of the sculpture is restored; it does not mean only that specific sculpture works are created for an outdoor environment, making the sculpture a part of the environment harmony; more importantly, it means that those who stop creating on the natural land and make the natural environment an irrelevant part of the work. The art works of the Ministry, such sculptures and the environment have a real close contact.
3.是扩展尺度。随着雕塑的背景从博物馆的墙面变成了喧嚣的城市街道.广场或渺无人烟的原野，爲了能和环境相衬，雕塑的尺度不可防止地扩展，甚到达了人能进入的尺度，成爲能用身体体验空间的室外结构物，而不只仅是用目光欣赏的单纯的艺术品，这时的雕塑就具有了发明室外空间的作用。
3. Extension scale. As the background of sculpture changes from the wall of the museum to the noisy city streets, squares or uninhabited wilderness, in order to match the environment, the scale of sculpture inevitably expands, even reaches the scale that people can enter, and becomes an outdoor structure that can experience space with the body, rather than just a simple work of art that can be appreciated with the eyes, the sculpture has been invented at this time. The function of outdoor space.
4.是运用自然的资料。在自然的环境中创作雕塑，运用自然界的一些未经雕琢的原始资料，如岩石.泥土.木材，甚树枝.青草.树叶.水.冰等自然资料来创作雕塑，会显得更爲调和和一致。有的时分，自然界的各种景象和力气，如刮风.闪电.腐蚀等，也成爲一些艺术作品的一个重要组成局部。
4. Use natural data. Creating sculptures in the natural environment, using natural raw materials such as rock, soil, wood, even branches, grass, leaves, water and ice to create sculptures, will be more harmonious and consistent. Sometimes, various scenes and forces of nature, such as wind, lightning and corrosion, also become an important part of some works of art.
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