在任何一种雕塑形式的创造过程中,雕塑工作者们积极在探索空间、体量、质感与运动性等要素,在这些要素之中,体量与空间的相互作用,是雕塑作品根本的要素。我们把这些要素归纳为室外或架上雕塑的基本理论,那么陶瓷肖像雕塑还有工艺上的要求,火控制着造型的形态(如陶瓷雕塑常有的是底座偏大,上小下大的造型,是为了经受起高温的考验),土局限成型,火却给作品变化莫测的想像力,使它的再创造过程即变得无限起来。不论何时,科学总是在前人已创造出来的基础上继续创造,是在前人成就基础上的进一步发明、完善。而艺术总是处在时常否定的时空里,有时候,总是从头开始,不能在前人的作品上再完善、再处理。在艺术中创作中借鉴可以肯定,今日希腊现代大理石雕刻艺术和文艺复兴前后的雕刻是不能同日而语的。时代背景的烙印,各时代对 Sculptors are actively exploring elements such as space, mass, texture and mobility in the creation of any kind of sculpture. Among these elements, the interaction between mass and space is the fundamental element of sculpture . We summarize these elements as the basic theory of sculpture outdoor or on the rack, then there are technical requirements ceramic portrait sculpture, fire control the shape of the form (such as ceramic sculpture is often the base is too large, large small under the shape is In order to withstand the test of high temperature), the soil is confined to shape, but the fire gives the work unpredictable imagination, making its re-creation process infinite. Whenever science continues to be created on the basis of what its predecessors have created, science is a further invention and improvement based on the achievements of its predecessors. Art always lies in the space-time that is often negated. Sometimes it is always the case from the beginning, and can not be improved and then dealt with in the previous works. It can be affirmed from the creation in the art that today’s modern marble carving art and the carvings before and after the Renaissance can not be said in the same way. The background of the ages, the times