The promotion and attention of modern stainless steel metal sculpture

Rock sculpture


Chinese modern metal sculptures have gradually developed and matured by the profound influence of modern Western metal sculptures. Western modern metal sculptures adhere to the principle of aesthetics of formalism as the most fundamental feature. They focus on exploring the connotation of metal materials and the discussion of spatial forms, focusing on originality and avoiding the influence of subject matter on works. That is to say, the focus of modern metal sculpture lies in the sculpture ontology, the pursuit of the “self-discipline” of art, and all the ideological and literary content principles unrelated to the form are abandoned.

However, due to the different social backgrounds and changes in cultural scenes, it is impossible and impossible for Chinese modern metal sculptures to reinterpret their development in accordance with the logic of Western modern metal sculptures. Instead, they should have targeted and selective learning and Drawing on, absorbing and accepting factors that are valuable to them, rejecting and abandoning the factors that have lost vitality in contemporary China, so that China’s modern metal sculptures can be well developed. The principle of supremacy of formalism in modern Western metal sculptures has obviously not adapted to the requirements of the development of contemporary Chinese art, and has lost its vitality. The reasons for this are summarized in the following three points.

First, the occurrence and development of the modern traditional metal sculpture formalism in the West has its own internal logic factors, and it can not be formed overnight.

The development of Chinese society lacks such logical factors, so the study and reference of formalism is actually the direct appropriation and copying of “knowing but not knowing why”. Formal art without social foundation is a purely aesthetic effect, and Chinese modern metal sculpture cannot completely escape the temptation to participate in and pursue social life due to the times.

 Second, the art of formalism is characterized by abstraction, while abstract art has the simplicity of operation and the limitation of artistic language. Western modern metal sculpture has been tried for nearly half a century in this respect, leaving it to Chinese modern metal sculpture. The development space is too small. Abstract art is produced and developed as an ideological reflection of mechanical civilization. It is closely related to the progress of modern industry. Contemporary China is in an era of diversified influence. Developed and backward coexist. The crowded and noisy environment makes people very It is difficult to associate the neatness and simplicity of the industrial society, so there is no visual experience foundation for the development of abstract art.

Third, the multiculturalism of contemporary China affects the social background and the recovery and awakening of traditional cultural awareness. It also encourages sculptors to constantly think about it, put down the shelf, and return to the cultural and social issues of social issues.

The famous Hong Kong sculptor Wenlou is a typical example of this kind of situation. Taking his work “Winning the Wind” as an example, we can see that in response to an industrial era, the artist tried to reflect the visual form of the new mechanical movement through the creation of modern metal crafts, by creating new forms of creation, Think about the possibilities that mechanical civilization brings to aesthetics. However, the artist does not rely entirely on the form, but metaphorizes the form of art as the image symbol of Chinese traditional culture and art. Bamboo, through the intrinsic correspondence between various forms of bamboo and the human spirit, to achieve formal harmony, let art Intervening in life and intervening in history reflects the pursuit of modern literati by the author and traditional aesthetics.

It should be specially pointed out that the above-mentioned so-called more targeted learning and the acceptance of Western modern metal sculpture ideas and concepts are a kind of sublation of the principle of supremacy of formalism, which absorbs and draws on Western modern metals at a higher level. The methods and principles of sculpture have positive and practical significance for better promoting the development of modern Chinese metal sculptures. However, the “sublation” here is not abandonment. It is not a denial of the art of metal sculpture in the context of modernism, but a bold choice based on the reality of China.