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雕塑语言的内在结构性与重心、外在单纯性与量感、同环境的谐调性与体积,都是三维空间造型艺术不可忽视的方面。韩美林的巨型城雕是否成功?听听一位雕塑家的意见。 80年代中期,韩美林开始涉足中国雕塑界。 韩美林在1995年创刊号《雕塑》杂志上发表的文章中,对于他为什么由画小猫、小狗转到做“大型城市雕塑”的解释是因为不满中国现当代雕塑“旧模式的统治和旧观念的指导”,是因为被“苏法联军”的“造型干篇一律”的雕塑“压得透不过气来”,才迫使他要以“改造中国现当代雕塑”,“再造乾坤,担当宇宙的气概”,
The inner structure and center of gravity of the sculpture language, external simplicity and volume, harmony with the environment and volume, are all aspects of the three-dimensional space modeling art can not be ignored. Han Meilin’s giant city sculpture success? Listen to a sculptor’s opinion. In the mid 80s, Han Meilin started to get involved in the Chinese sculpture industry. In an article published in Sculpture, the first issue of 1995, Han Meilin explained why he turned from cats and puppies to “big city sculptures” because of dissatisfaction with the “old mode of domination and the old conceptions of modern and contemporary Chinese sculpture” Because the sculptures of “modeling all kinds of articles” by the “Soviet Union and France and the United Army” “pressured thoroughly” forced him to use “to transform Chinese modern and contemporary sculptures,” “to rebuild heaven and earth and play the role of the universe spirit”,