事实上,人类对于任何一种形式语言“审美的”探索与创新,同时也就是对“丑的”东西认真的反思与否定。但问题还不止如此。我们作为有着灿烂辉煌的雕塑历史文明古国,到了近现代,却在雕塑形式语言的突破和创新方面步履艰难,其中一个原因,就是在我们雕塑的内容与形式的语言中,“丑的审美化”这条原则并没有引起相当的重视,归纳有三: 一、雕塑创作语言单一贫乏,形式手法与表现内容相悖或不能充分地协调,表现为“内容之美但形式之丑”,所以产生不了充分的美感。我们认为,往往潜意识状态的审丑性被压抑,是直接导致雕塑家手法模式化的根本原因。 在这里,有必要地将何力平先生的文章《中国雕塑形式语言发展的艰难选择》作一断章取意地介绍,他认为:“刘先生留 In fact, mankind’s exploration and innovation of “aesthetic” in any formal language is at the same time a serious reflection on and negation of the “ugly” thing. But the problem is more than that. One of the reasons why we, as the ancient country with brilliant and splendid sculptures of ancient civilizations in history and civilization came to the modern times but are struggling with breakthroughs and innovations in sculptural forms of language, is due to the fact that in the content and the formal language of our sculptures, “ugly aestheticization” This principle has not attracted much attention. There are three main reasons: First, there is a single impoverishment of the language of sculpture, which is incompatible or incompatible with the content of expression, which manifests itself as “the beauty of the content but the ugliness of the form” . In our opinion, the uglyness of subconsciousness tends to be suppressed, which is the fundamental reason that leads directly to the sculptor’s mode of stylization. Here, it is necessary to make a brief introduction of Mr. Ho Liping’s essay, “The Difficult Choice in the Development of Chinese Sculpture Form Language,” and he thinks: "Mr. Liu’s stay