随着中国和国际的接轨与加入到世界范围内的各种合作,文化也毫无例外地必然介入到这一行列。加入了国际运作模式就是国际品牌了吗?这种看法,如果用于文化领域,那无疑是一种悲哀。文化的沉淀与艺术的品位往往是和这个民族的文化传统与具有永恒魅力的精品艺术相关,只有具有了自己的方式,方可在世界文化史浩翰的长河中留下一粟。现执教于鲁迅美术学院雕塑系的艺术家陈连富是一个忠实于艺术创作原则与规律的劳动者。我国雕塑艺术创作,在近几年中毫无例外地受到国际潮流与功利主义者的影响。雕塑这种以体量、空间立体关系呈显的视觉艺术形式同样受到冲击,并在使之疆界变得模糊的同时,也使这方面的从业者的思想越来越谜糊。为追逐一些国际化的展览而放弃自己已习惯的述说方式,在当代国内艺术创作者尤其是雕塑创作者中更为明显突出。谁来捍卫这种看似被遗弃实则是永远不会被遗弃的艺术——具像雕塑呢? With the integration of China and the rest of the world and the various cooperation that has been made in the world, it is inevitable that culture will inevitably intervene in this field. Joined the international mode of operation is an international brand yet? This view, if used in the field of culture, it is undoubtedly a sad. The precipitation of culture and the taste of art are often related to the cultural tradition of this nation and the art of eternal charm. Only by having our own means can we leave a drop in the vast river of world cultural history. Chen Lian Fu, who is currently teaching at the Sculpture Department of the Academy of Fine Arts in Lu Xun, is a laborer loyal to the principles and laws of artistic creation. The sculpture creation in our country has been influenced by international trend and utilitarianism without exception in recent years. The visual art form of sculpture, which takes the form of volume and the spatial three-dimensional relationship, is equally under attack and, at the same time, obfuscates its boundaries, at the same time making the thinking of practitioners in this field increasingly confused. Abandoning the ways in which we have become accustomed to chasing a few international exhibitions is even more conspicuous in the contemporary domestic art creators, especially sculptors. Who would defend this seemingly abandoned but in fact will never be abandoned art - like a sculpture?