近十余年来,德国雕塑之所以具有特殊的重要性,就是它把充满原始感的人体转化为在严峻空间中富于表现力的存在。它讲述了人体饱受苦难的故事,既经历着生活中固有的灾难,又承受了社会强加于人类的痛苦。那是一些具有自身独特空间的人体,有时英勇悲壮,有时朴实无华,毫不引不注目。在表现手法上,有的雕塑家,特别是马尔库斯、吕佩尔茨善于通过各种神话故事来描写人体;又有的雕塑家,尤其是沃尔夫岗·莱布泽则长于为人体的表现创造出神秘的空间。无论是原始的裸露,还是当今的不着衣人体(如巴塞利茨),或者穿着普通日常衣服的人像(如斯杰芳·巴尔肯霍尔),如果是被伤害者的话,都有一种倔强的感觉,但缺乏自我的保护能力。托马斯·修特的人像雕塑就是这样。对于战后的德国雕塑家来说,再 For more than a decade, the reason why German sculptures have a special significance is that they turn the full of primitive humanity into an expressive presence in severe space. It tells the story of the suffering of the human body, experiencing both the natural disasters in life and the hardships imposed by society on human beings. It is some of the human body with its own unique space, sometimes heroically tragic, sometimes unpretentious, without drawing attention. In the way of expression, some sculptors, especially Marcus and Lüpertz, are good at describing the human body through various mythological stories; while some sculptors, especially Wolfgang LeBouze, are longer than human bodies The performance of creating a mysterious space. Whether the original nudity, or today’s unwathed body (such as Basellts), or portraits of ordinary daily clothes (such as Sri Lanka Fang Balfin Hall), if it is injured, then there is a stubborn Feeling, but lacking in self-protection. Such is the sculpture of Thomas Sitter. For the post-war German sculptor, again