当代艺术,在经历了现代艺术和后现代艺术之后,总体上呈现的是一种无边界的多元化和跨媒介化。同样,在雕塑领域,经历了一系列新材料、新视觉和新观念的探索之后,无论是教学还是创作上都呈现着本体语言失落的态势。那么,泥塑头胸像、泥塑人体写生作为雕塑的基础教学,在当下的艺术语境下是否还有它的普遍意义,以及在这种日益扩大的艺术概念中,雕塑作为一种艺术表现与阐析世界的手段,是否有其自身完整的、不可替代的语言体系和艺术特征。 Contemporary art, after experiencing modern art and postmodern art, generally presents a kind of borderless pluralism and cross-mediaization. Similarly, in the field of sculpture, after a series of exploration of new materials, new visuals and new concepts, there has been a loss of ontology language both in teaching and in creation. So, the clay head bust, clay human body painting as the basic teaching of sculpture, in the current context of art there is still its universal significance, and in this ever-expanding concept of art, sculpture as an artistic expression and analysis The world’s means, whether it has its own complete and irreplaceable language system and artistic features.