雕塑艺术的基本特征
The basic characteristics of sculpture
1.空间性与体量感。
1. space and body sense.
作为三维的实体形象，雕塑存在于空间，呈现于空间，也翻开于空间。因此，空间，真实的、实体的空间，是雕塑的安身立命之所。作为体积和体量的艺术，雕塑有必要占有空间，通过空间来展示其艺术魅力。同时，雕塑也刻画空间，建构空间，活化空间。除了建筑和园林，没有任何一种艺术形式能够与雕塑的空间建构性一较高下。一座雕塑，无论是置于室内，仍是置于街头广场；无论是小型的胸像摆件，仍是巨型的城市雕塑，一当它进入空间，它就会改动原有的空间格局和性质。
As a three-dimensional entity image, sculpture exists in space, presenting in space, and also in space. Therefore, the space, the real and the real space are the places for sculpture to settle down. As the art of volume and volume, it is necessary for sculpture to occupy space and display its artistic charm through space. At the same time, sculpture also depicts space, constructs space and activates space. Apart from architecture and gardens, no form of art can match the spatial constructiveness of sculpture. A sculpture, whether placed indoors or in street squares, whether small chest ornaments or giant city sculptures, once it enters the space, it will change the original spatial pattern and nature.
雕塑的空间性与体量感是雕塑顷刻不可别离的双面。体量是实体空间，空间是虚空的空间，虚与实两种空间的互动和互傍，才构成了雕塑的审美空间。苏珊·朗格说，“雕塑是感觉空间的能动体积的意象”，其着即在主体和雕塑客体之间的空间感觉的对应。雕塑作为一种实体意象，是主体直观地、逼真地感觉到的意象；其次，是一种空间意象，并且是感觉空间意象，是处于主体的视感觉和身体感觉的敏感性范围内的意象，换句话说，空间是真实的空间，意象是真实空间的真实意象；再次，它是一种能动的体积意象，也就是说，它是一种具有身体的侵入性和审美的呼唤性的活跃的意象，而不是像某种巨型的植物或具有体量的某种偶然的堆积物那样，仅仅一种低沉的意象，一种不具有引人入胜的心思感应性和视觉聚合力的意象。
The space and volume of sculpture are both sides of sculpture. The volume is the entity space, and the space is the empty space. The interaction and adjacency between the two spaces constitute the aesthetic space of sculpture. Susan Langer said that "sculpture is the image of the dynamic volume of sensory space", which focuses on the correspondence of spatial sensation between the subject and the object of sculpture. As a kind of entity image, sculpture is firstly the image that the subject feels intuitively and vividly; secondly, it is a kind of space image, and it is also a sense space image, which is within the sensitivity range of the subject's visual sense and body sense. In other words, space is the real space and image is the truth of the real space. Real image; thirdly, it is a dynamic volume image, that is to say, it is an active image with intrusive body and aesthetic appeal, rather than just a low image, like some giant plant or some accidental accumulation with volume, which does not have a fascinating heart. The imagery of perception and visual convergence.
2.瞬间性、持久性和沧桑感。
2. instantaneity, persistence and vicissitudes.
雕塑的持久性与沧桑感，与雕塑的物性特征密切相关。古代的雕塑，大多选用石头和青铜铸成，由于这些资料在抗御时间和风雨的腐蚀方面比任何纸质或布质的绘画更具有优势，因此，我们今天依然能够观赏到古希腊罗马甚更早时代的雕塑创作，可是很难或许几乎不可能看到与雕塑相同陈腐的绘画作品。因此，在所有艺术中，雕塑的持久性是出色的。与任何平面的艺术，比方绘画比较，雕塑的沧桑感也是比较独特的一个方面。由于久经风雨，雕塑，尤其是比较陈腐的雕塑，不是显示出品相的破损，就是露出出在天然的淘洗和前史的激荡中留下的风化印迹。这就使得观赏者常常能够在前史的沧桑剧变中，“倾听”到雕塑所储存的时代的回声，所记录的社会灾变的澎湃巨响。因此，在这一点上，雕塑也如同建筑，具有石头的史书的价值，即前史的、文明的，甚文物的价值。
The persistence and vicissitudes of sculpture are closely related to the physical characteristics of sculpture. Ancient sculptures are mostly made of stone and bronze. Because these materials have more advantages than any paper or cloth paintings in resisting the corrosion of time and rain, we can still enjoy the sculpture creation of ancient Greece and Rome even earlier, but it is very difficult or impossible to see them. The same old paintings of sculpture. Therefore, in all arts, the durability of sculpture is the best. Compared with any plane art, such as painting, the vicissitudes of sculpture is also a more unique aspect. Because of the weather, the sculpture, especially the more obsolete sculpture, not only shows the damage of appearance, but also reveals the weathering imprint left in the natural wash and the turbulence of prehistory. This makes viewers often be able to "listen" to the echoes of the times stored in the sculpture in the vicissitudes of prehistoric vicissitudes, and record the surging sound of social catastrophe. Therefore, at this point, sculpture, like architecture, has the value of stone history books, that is, prehistoric, civilized, and even cultural relics.
3.虚拟性和标志性
3. virtual and iconic
虚拟性和标志性是雕塑十分重要的特征。了解古典戏曲的人都知道，虚拟性和标志性在戏曲扮演中占有重要方位，比方马鞭代表骑马（马）、桨代表划船（船）、开门的动作代表室内和室外空间的区隔等。整体来说，戏曲常用的标志办法，是部分代替整体。雕塑与戏曲在这一点上十分相似，也常常选用部分代替整体的办法，例如，几朵浪花，标志涛飞浪卷的大海；一颗麦穗，标志农业或许丰盈；一只没有弦的弓，代表弓箭或武器，甚有时即便仅仅雕塑人或物的一种动态，或一个动作，也具有标志或指示意义。
Virtual and symbolic are very important features of sculpture. Anyone who knows Chinese classical opera knows that virtuality and iconicity play an important role in Chinese opera. For example, the whip represents horse riding, the oar represents boating, and the opening of the door represents the division of indoor and outdoor space. On the whole, the usual method of marking opera is to replace part of the whole. Sculpture and opera are very similar in this respect, and they often use partial substitution for the whole. For example, a few sprays, marking the ocean, a ear of wheat, marking agriculture may be rich; a bow without strings, representing bows and arrows or weapons, sometimes even just a dynamic sculpture of people or objects, or A movement is also marked or instructed.
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