What are the languages of sculpture?

What are the characteristics of sculpture art? All plastic arts have comprehensive characteristics, not just one or two factors. Here only talk about the most important characteristics of sculpture art, or where the characteristics of sculpture beauty are.

Oil painting expresses space, three-dimensional and image on the plane, mainly touching people with colors, especially the oil painting of19th century. These colors are like magic. Generally speaking, there are two stages in plastic arts: first, the objective factors are imitated and reproduced by lines, colors and shapes, which are the most basic factors in plastic arts; In the second stage, these means have become the embodiment of thoughts and feelings. At this time, lines, colors and shapes are not only the characteristics of objective objects, but also a kind of rhythm and melody, giving people a symphony-like feeling of elegance, enthusiasm, loftiness or chic and depression. For example, lines are the outline of things at first, and then they become the expression of the author's own feelings about things, and so are colors. So is sculpture. The simplest feature is that it is three-dimensional, and an object occupies a certain space, which is the basic concept of sculpture. However, having volume and occupying space is not necessarily the art of sculpture. Only when the volume reflects certain thoughts and feelings can the art of sculpture be formed. The human body engaged in sculpture will change the volume occupying a certain space and is very sensitive to this kind of thing. Musicians should be very sensitive to realistic acoustics. A painter should be highly sensitive to color. Sculptors should be highly sensitive to the changes of volume and shape, be good at using and emphasizing the combination changes of volume and emphasize the sense of volume. Rodin said that sculptors should think in space. A piece of paper also has a certain volume, with its length, width and height, but it has no sense of volume, and you can't feel the power of its volume. When you speak at the volume, you must strengthen the sense of volume and let people feel its volume. When a cube faces the audience, you can only see one side, but not the volume. To make everyone have a sense of volume, you must choose an angle so that everyone can see three sides and feel the volume. Sculptors should be good at organizing the volume to form a certain strength, a certain feeling and a certain rhythm; Make the volume combination contrast strongly. They often say that there is a circle in the square and a square in the circle, that is, to change the volume. In modern cubism, various triangles, pentagons, circles, flat shapes, squares, long strips and sharp shapes are combined to form a special rhythm. Of course, from the western tradition, sculpture can not be separated from the performance of the human body. Modern sculptors attribute the human body to different, definite and contrasting volumes.

Rodin once said to gesell, "Greek sculpture has four sides, while Renaissance sculpture has two sides. This sentence is an example used by an artist to illustrate the sculptor's experience, and it is impossible to cover all the characteristics of Greek and Renaissance sculptures. The statue carved by phidias in ancient Greece has four faces, the center of gravity is on one foot, the other foot is in a "at ease" state, and the two knees are in tandem to form a face; The pelvis turns in the opposite direction, which is another face; The chest turns back into a face; The head side to the other side is the fourth side. This shows a feeling of stability, confidence, stretching and pride. The turning point of the action is small, subtle and harmonious, showing the stable, implicit, powerful and confident mood of the golden age of Greece. Revival is two-sided. Michelangelo has a sculpture called "Struggling Slave". Michelangelo, commander in chief of Xu Wei, fled after the defeat, and the Pope ordered him to come back within a time limit. When he came back, the Pope ordered him to build his own grave. The Pope is a reactionary force, and Michelangelo is a representative of the civil class and a revolutionary. He felt humiliated, so the decorative statue he made fully reflected his resistance and indignation. People say that his works embody "the tragedy of giants". Engels spoke highly of Renaissance artists, comparing them to "giants" in human history, and said that "those who lay the foundation for modern bourgeois rule will never be restricted by the bourgeoisie". Michelangelo is one of the representatives of this "giant". He is a political activist, can fight, is a painter and poet, and is also engaged in sculpture and architecture. The slave's posture is like this: one leg is upright, the other leg is raised, forming a big face, and the whole body is violently twisted to form another big face (performance), which is completely different from the four faces in Greece. There is a strong sense of distortion, a strong sense of struggle and a strong sense of contrast, which is completely different from the feeling of slow, rhythmic and stretched sides. This fierce distortion is a tragic manifestation. These two examples can explain how the sculptor expresses the content and theme, how to observe life, and where the characteristics of sculpture beauty are manifested. We can appreciate Greek art from aristophanes's comedies and Sophocles' tragedies, and evaluate Greek art from bottle painting, painting, red pottery and black pottery. For sculpture, we should understand an artistic conception, an idea and even the spirit of an era from the changes of volume and surface, and from the turning and turning rhythm of human volume. This is very necessary and important. This is the language of sculpture, and this is the world that sculptors observe and express. Ordinary people may not feel so prominent about the characteristics of sculpture, but in artistic practice, even in China, it is very particular. For example, when a general in Beijing Opera enters the stage, he first makes a T-step, then holds his chest horizontally with his hands, making a "cloud hand" movement, forming a very intense and straight volume contrast. Seen from the front, the T-step is deep, while the "cloud hand" is horizontal. This forms a contrast between the two volumes, showing a kind of strength. Although there is no such summary in theory, in fact, people have long paid attention to it. Everyone feels better, change a little, and fully express their emotions. This is actually a sculpture language. That is to say, the contrast, transition and change of volume are used to form rhythm and express a special feeling. This sculpture language, when developed to a certain stage, becomes more general. If Rodin still understood from the great turning point of human body volume, then later, he isolated the volume factor, emphasized the absolute point, and summarized all the forms in the world as clear geometric bodies, such as long, square, round and flat. And sculptors combine them according to their own subjective feelings to form their own emotions, moods and expressions. This is cubist art after Cezanne. Henry moore, a British sculptor, highly developed this theory. He does not show specific forms, but combines mountains, large volumes, large triangles and parallelograms. No one can tell whether it is a man, a horse or a beast, but it can make people feel harmonious and feel an emotion. Modernist sculpture is the development of pure sculpture. In some cases, it is not entirely undesirable, nor is it entirely a manifestation of reactionary ideas. Some artists have developed a high degree of sensitivity after long-term experience of their own artistic forms and artistic language, and no longer need to rely on literature and storylines. All professional comrades can understand this situation. China's paintings have developed to the Eight Eccentrics in Yangzhou, and only a few strokes can show such a chic and indifferent mood. Unlike the paintings of the Song Dynasty, what is a mountain and what is a tree are described in such detail, but the basic rhythms of mountains and trees are expressed in just a few strokes. The same is true of sculpture, as long as it shows the basic rhythm, there is no need to describe the object so specifically. Therefore, modernist sculpture has its reasonable side. Of course, our art is for the people so that most people can understand it, but we can't deny it just because we take care of the appreciation level of most people. It's like calligraphy. People who know the art of calligraphy not only look at the content of words, but also see that they can express an emotion with only a few strokes. This does not mean that this is a pure form. Here is a question of different appreciation angles. For example, modernist architecture has many straight lines, which is very boring. The sculptor puts a changing triangular volume to break the straight line, which makes people feel this change and feel that only by looking at it can they be comfortable and lively. It is not that the development of sculpture must be like this, nor that it is the best, but we can't deny that it is also a sculpture language.