世界各民族的艺术风格的形成,都表现为传统文化在承继过程中积淀的一种模式。“传统”的价值在于它是一个囊括丰厚宏博的“载体”,并对未来的发展取向产生一定的辐射作用。中、西雕塑艺术风格迥然不同,正是其不同“传统”使然。然而,认识和阐释两种艺术时,我们常常不自觉地套用吻合西方雕塑艺术的美学原则作为一种审美的定式,来审视中国的雕塑艺术。其因一是,以文人文化为主体构筑的中国古代的文化机制,把雕塑划归在民间工匠之列。浩繁的古代典籍和体系完备的“画史”、“画论”中雕塑家寥若晨星,理论更为匮乏。历史的陈因,尤其是理论的极度薄弱,无形之中在观念上淡化了中国雕塑已达到的成就和应得的地位。其二,在西方艺术发展史一直起着主导作用的雕塑艺术,具有系统的理论和美学体系。近、现代西方文化和美学理论传入我国,客观上成为补足并指导我们认识和评析中国雕塑艺术的重要参照。认识的混淆、判断上的误导势必造成行为上的被动与盲从,中国雕塑艺术自身的美学价值不可避免地受到不应有的削弱,甚至是一种扭曲。困惑于误区中的中国雕塑艺术一直处境窘迫。面对多年来不少有识之士反复强调和呼吁继承、弘扬中国雕塑的民族传统,但在大量的艺术实践中却很难亦很少得到、见得其回应和体现的现象,足以说明? The formation of the artistic styles of all ethnic groups in the world manifests as a model of traditional culture that has accumulated in the process of inheritance. The value of “tradition” is that it is a “carrier” that embodies a wealthy macro and has a certain radiating effect on the future development orientation. Chinese and Western sculpture art style is very different, it is different from the “traditional” dictates. However, when we know and interpret the two kinds of art, we often unconsciously apply the aesthetic principles that accord with the western sculpture art as an aesthetic formula to examine the Chinese sculpture art. One of the reasons is that the ancient Chinese cultural mechanism, which is mainly composed of literati culture, places sculpture in the ranks of folk artisans. Many ancient books and systems complete “history of painting”, “Paintings” in the few sculptures, the theory is more scarce. The cause of history, especially the theory of extreme weakness, invisible in the concept of downplayed the Chinese sculpture has achieved and deserved position. Second, the art of sculpture, which has played a leading role in the history of the development of Western art, has a systematic theoretical and aesthetic system. Recently, the introduction of modern Western culture and aesthetics theories into our country has objectively become an important reference for making up and guiding us to recognize and evaluate the art of sculpture in China. Confusion in understanding and misjudgment in judgment will inevitably lead to passive and blind acts in behavior. The aesthetic value of Chinese sculpture art will inevitably be weakened or even distorted. Chinese sculpture, confused in misunderstandings, has been embarrassed. In the face of the repeated emphasis and call on many insightful people over the years to inherit and promote the national tradition of Chinese sculpture, it is difficult or rarely obtained in a large number of artistic practices. Is it enough to explain why they have responded?