Not only do we need an activity space that can walk and sit, but we also need a space to feel our spiritual desires. However, the establishment of this space can be said to exist before the emergence of human beings. For example, the big courtyard where we live - any place on the earth, not the mountains are the plains, not the Linze is the Gobi... the space sensation to the world - after the people appear, people from the mountains, From the tree, from the water, from the cloud, it is natural to appreciate and transform the feeling of the original space. People not only realize that this space can walk and sit, but also realize that this space can be empathetic. Later, when people set up boulder, built houses, and built castles on the earth, the original natural space was no longer the old one. Some of the original religious feelings that people first surged inspired people's great enthusiasm. This enthusiasm, carrying the aesthetic intentions that people did not realize at the time, squeezed into this space, and it was the tailoring of the natural space. Houses and castles are no longer just the least useful, but also the result of “design†because of their attention. As the design follows the space that is squeezed into the space, it is the “city sculptureâ€. This naturally stems from the ancient Greek civilization (the “city sculpture†in the full sense should refer to the works that are viewed by the living people, not the listed items in front of the tomb of the dead.â€
After the building enters the space, the city sculpture is inevitably mixed with the meaning of a certain religion in the early building, but it is a production with independent value after all, and this value (aesthetic) is slowly getting detached. Opened the utilitarian burden of the original stage, and more and more relaxed and relaxed the beautiful wings of the sarcoplasm, making itself a pure aesthetic, and finally become a feeling in space, a kind of satisfaction in people's aesthetic psychology a feeling of. 
In fact, the space we are moving in is like a huge pool of ubiquitous stuff that fills any stuff that can be stuffed. It is transparently surrounded by us, but we are still free to move, not only to act and feel. Therefore, this space has both great tolerance and great plasticity. It is based on the existence of this meta-challenge created by God that architecture and sculpture can and must be squeezed in to create a purely aesthetic sense of space. 
In a huge and infinite natural space, a stone, a tree, a city or even a mountain can be seen as a "point" of varying sizes. The space we feel is also supported, segmented and constructed by many of these points. The observation of "points" has become the fulcrum of people's perception of space. Then the role of engraving should be to provide a "point" that can produce aesthetic photos. These "points" have been constantly changing since ancient times, and they have been created in a way that is fresh and new. But when we think calmly about the so-called "style" and "style" in the works in these different time series (that is, filter out those "contents" for a while), then they are nothing more than purely formal transformations. The transformation of the pure visual style, that is, the way of controlling the space. Although the magnitude of this transformation is not "changing" in the history of Chinese and foreign carvings, it is always necessary to seek a relatively new shell that is relatively small. However, its general trend is first and foremost a breakthrough in the way space is dominated. Obviously, the “method†is not freed from liberation and freedom, and it is difficult to produce any substantial “content†progress and renewal. Of course, there is a big content in the back of the work that liberates the “wayâ€. From this point of view, the new visual style is our goal. The trend of sculpture to the sense of creating a space with new visual stimuli should be the direction of our future city sculptures. 
The most important and basic premise of establishing a new sense of space (except for the author's artistic quality premise) is to first create a sensory form that actually dominates the space. Grasping a suitable shape in any particular space is always a severe test for sculptors. Although it will never reach an absolute level, it is entirely possible to see the differences between different sculptors. No matter how inconvenient this difference is for the sculptors, it is necessary to believe in yourself and to throw your own sensory styling desperately into the space – that is, to throw the feelings into space!
If we review our previous city sculptures, we have to admit that there is very little space to consider. Most of them are perfecting their own ups and downs according to the indoor "sculpture on the shelf", and then forcibly taking out the relationship with "space"... Stealing, perfecting itself should be second, perfecting its spatial relationship should be First and foremost. In other words, don't worry about what it is, and don't care what it is, first put a sensory shape in the space by feeling, use the feeling to define the space, and turn a natural space into a suitable one. In the aesthetic space. It is the primary key. 
Naturally, it seems puzzling to refer to the real sculpture as “feeling†and to call it “feeling shapeâ€. But if the history of sculpture is regarded as a style or form (that is, the space that governs the history), then it is not a history of feelings! From this perspective, the ancient Egyptian sphinx, Athens, Greece The image of Na is not the perfection of the sculpture itself, but the spatial feeling that these things form in the overall "point" community with sufficient volume and shape relative to the space. They first satisfy the spatial relationship that is necessary for a large enough pyramid and a large enough temple. Determining and striving to produce appropriate spatial effects is much more important than engraving detailed facial features and accurate anatomy! Suppose we erase the five features of the Sphinx and the goddess Athena and all the details, with people from far away desert Or the space feeling in the depths of the sea is not affected at all. Despite the fact that such a grand system and in the thousands of years of the giant system have carved out many details in detail, the value of the space they create is far greater than the value of the “completeness†of their details. Although we used to appreciate the completeness and exquisiteness of the statue itself when we experienced these art works, we took it out of the space to study and figure out, but this is precisely the background of why the statue was taken out. The cause of the error. In our contemporary times, there are many works that do not consider the sense of space, and they are constantly produced. They are eager to scribe the eyebrows and eyeballs of the characters and the standard fingernails at a height of tens of meters. It is completely forgotten that the life of the city sculpture is The creation of space feelings. 
Although China is a country without the tradition of city carving, it should be said that there is no space for creation. This is the carving of the ancient Chinese cemetery, that is, the production of this one is a space that creates a little aesthetic (substantially) in the natural space. However, we can also see the relevant situations and actions of ancient Chinese carvings in terms of dominating space. 
It should be noted that the "gate" is the space frame carved by the ancient Chinese cemetery. Their combination is centered on the mausoleum and spreads in a cross-shaped plane. Each direction of stretching is configured as the "door" intent. Although most of the cemetery buildings with real doors have disappeared, we can still feel the existence of such "doors" in some cemetery carvings such as Tang and Song, because they are in accordance with the layout of the building. Set. The building disappeared and the pattern of "doors" remained. This is the sense of space caused by these many “points†(sculpture individual). We can not look at the specific shape and spatial dimension of the individual statues. Only the whole of these "points" have divided the space into "doors". Of course, the "gate" is not the purpose of this space, but only through them, people will feel a sense of space in the back of this "door", such as "severe, solemn, and terrible". The space here is modular, that is, it is not supported by a main body of a sculpture or a few sculptures, but is created in a cluster. Suppose we restore these sculpture groups to the architectural complex today. The “position†of these works is the “accessories†that live on the ground, in the courtyard, and next to the gates. They belong to the mausoleum and the mausoleum building. They are not independent, and they do not build space independently. This is the place where the ancient Chinese sculptures have little to do with space. Even though this is the result of our vision today, according to today's situation.
Since ancient China never had a city sculpture, sculpture rarely controlled the space with the identity of the creative space, and never occupied the space with sculpture. This is true in the overall sense, as is the case with individuals. The individual characteristics of ancient Chinese sculpture generally tend to be harmonious, and the relationship between individual and space can be said to be "embedded". In general, the “circle†on the overall outline of the individual figure and the “slowness†of the face and face constitute a form of softness from any side. Such a shape is placed in the space as if the sphere is floating in the water. It seems to be able to roll and flow. The relationship between sculpture and space is at the level of the sense of the relationship between the closedness of the contour and the spherical radiation. In other words, it is the relationship that the tension inside the sculpture is greatly restricted in space. Although it can be felt to have a huge explosive power, the invisible and huge space makes people feel that it seems to be tightly surrounding this "circle", which makes the space huge and heavy. If the ancient Chinese sculptures are the media of the craftsmen's spirits, then the stagnation and difficulty of this kind of movement can be seen. The "circle" that is huddled into a group, despite having a strong and endless core (which may be able to find a connection from ancient Chinese philosophy), is ultimately an escape and self-defense of the real space, so From the sense of space formed by such works, we can only feel the calm and chilly atmosphere, and there are few exhilarating and stimulating spatial feelings, and it is difficult to produce a relaxed, simple aesthetic pleasure. . The huge shadow formed by the political complex behind the work always hangs over it, and it is difficult to change as a historical necessity. 
If you compare it, the ancient Western sculptures are almost exactly the opposite of the ancient Chinese sculptures. First of all, they had a mass space belonging to social citizens early on, and they also pushed the sculpture into the space early. Their carvings are not completely attached to the building as in China, but they are the furnishings under the leadership of the building. Instead, they occupy an open site in the building group, or they can stand alone in the center of the square or stand alone. At the top of the building, it is necessary to use a sculpture as an independent system to control the space and to form a commanding point of independence or clustering. It seems that there is another space on the top of the building that belongs to the sculpture. 
Although the carvings in Western history are mostly mythical gods or kings, heroes, etc. of various dynasties, their significance is not for the dead, but for the living. So they shaped the statue while shaping the portrait. There are all kinds of humanizations of God, as well as the deification of various people; there are both Athena and athletes... In addition to the blessing and inspiration of the living, these works are also highly elegant and elegant. Shows the aesthetic pursuit of living people. In the age of democracy in ancient Greece, things that do not represent the interests of the people and the best aesthetic standards of the present are difficult to recognize. Therefore, their sculptures are “lively†and the spatial relationships created are also intimate, fresh and inspiring. Such as the Nunnery Temple and a large number of courtyards, streets, theaters, sculptures of sports fields, etc., always harmonize the permanence of sculpture with the transcendence of people's daily life, and always forget to use the aesthetic space of creation to exert influence on people. At the same time, we can feel the humanistic atmosphere in the living space created by this architecture and sculpture, and it can also bring out new enthusiasm for survival. They not only see the works, but more importantly, they can breathe freedom, independence, peace, friendship, human meaning and vitality in this environment!
From the perspective of individual sculptures, Western ancient sculptures use "cones" and "columns" to express their overall characteristics. In the spirit of physical feelings, in the spirit of perseverance and challenge to the world, they instinctively endowed the individual sculptures with the image of "cone" and "column" without hesitation in the space! The sword and the lighthouse are average. It not only reflects the people's will to conquer the space, but also reflects the spirit of calling on the people and guiding the people to act positively! In the appearance, it does not seek the "circle" of the outer contour in order to get along with the space (invisible pressure outside the statue). There is no competition, but the limbs are stretched as much as possible and the clothing lines are fully smooth and flawless. The clear ups and downs of the statue itself and the strong momentum of the form have a clear sense of directivity in the face of an infinite space. The resulting space feels an outward extension of the statue as a base point. It forms a network of visually sensuous feelings that are mutually folded and self-contained with the surrounding buildings or with other statues. The space is invisibly supported and creates a feeling in the air. The reality. 
Standing back to the present, the brilliant city sculpture art in Western history has laid the foundation of today's city sculpture art. For thousands of years since the ancient Greek period, city sculptures have always played an indispensable role in the living space of Westerners, a role of creating feelings. This feeling is not the feeling that a certain object is passively seen after being placed in space, but the feeling that the space has a human meaning after the work actively participates. From the ancient Greek Athena statue to the ancient Roman Trajan's merits, to the Eiffel Tower in France, to the American goddess of the torch, to the Soviet Union's "mother-mother", etc. The spirit of Yuntian to support the space building, and even the various abstract sculptures that have evolved to today, are all in one continuous line. The sense of creating pure aesthetic space has become more and more the trend of today's city sculptures, and the connection between architecture and sculpture is no longer as existing as one or one party belongs to one side or both sides exist independently, but the boundaries between the two. It is being blurred to a limited extent: sculpture is architecture, architecture is sculpture. Such as the Sydney Opera House. Their integration allows the space of the sculpture to be extended more widely, while at the same time making the space of the building more aesthetically pleasing. 
The establishment of the sensory space should firstly show through the sculpture that the natural space is dominated by multiple dimensions, and as much as possible, the extension of any one of the dimensions is extended. Secondly, based on this, it corresponds to the aesthetic psychology of the sensory subject. This requires the former to have the possibility of providing an infinite space for the latter, that is, the perceived space is a space of “thinkingâ€. Still taking the "homeland-mother" of the Soviet Union as an example, it is dominated by multiple dimensions of space, and the extension of spatial orientation is rich and sufficient, and its spatial radiation will inevitably maximize the psychological space of the sensory subject. Generate corresponding expansion. Some works similar to China's national conditions, such as the group works of Nanjing Yuhuatai, although they are like a wall-like composition, are still a volumetric and spaceless work. First of all, its spatial orientation is single—only upward, and secondly, it feels that the extension of its spatial orientation cannot constitute a structured sensory network. Therefore, the tension that can be generated in the correspondence of people’s psychological space is extremely thin. weak. Of course, this is an example of similar situations. In fact, in today's society, people have created more works that are far better than this.
So we say that sculpture (which used to be, and should be more in the future) is a feeling. Its primary function is to dominate the space and create a feeling!
Want to know more about copper carving prices, copper carving wholesale, bronze sculpture joining, copper carving procurement related information, can visit http://tongdiao.99114.com/
Throw Blanket,Plush Fleece Blanket,Fleece Blanket Throw,Fleece Blanket With Embroidery
Huaian Meisiyu Textiles Co.,Ltd , https://www.comfortrobe.com