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The issue of "sculpture nationalization" is different from the "oil nationalization," also from "traditional Chinese painting improvement", the research on it is unique. Compared to the "oil nationalization", the "sculpture nationalization" has a rich heritage and long tradition to explore and learn; to "traditional Chinese painting improvement", the "sculpture nationalization" is based on the sculpture system which is introduced from the West. Particularly after the founding of new China, the introduction of the system not only includes the European sculpture system featuring France, but also the Soviet sculpture system which was introduced in 50's and became prevailing in China. For the Western tradition of a strong lineup, "sculpture nationalization" need more concerning, need to find a proper fit in front of the exchanges and collisions between Chinese sculpture and the Western tradition. The purpose of this thesis is to reveal the academic evolution history of Traditional Chinese sculpture--from being neglected to discovered, inherited and recreated. This history is just that of the Western sculpture system (shape with others'pattern) stepping into the modern nation (shape with own pattern). Both of them are unified. Firstly the penman sort out the historical documents about the modern sculptors discovering and studying national traditions and some artists'biographies and essays, classify and compare them trying to sum up the original history of their learning about traditional Chinese sculpture, and then analyze what they learned through national traditions. In the next study, I will analyze the exploring practice of the sculpture nationalization since the new China in two respects. First, it is about the study of the teaching practice of sculpture. Second, by classifying and analyzing the representative sculptors and sculptures, I tried to demonstrate their significant exploration they conducted in sculpture nationalization, and their significance in the history of the Chinese sculpture and even the art in the twentieth century. Finally, sum up these questions discussed above, evaluate the status and role of nationalization sculpture objectively and fairly with the historical perspective, and make my own future vision and thinking. I hope this article can have implications on the current reality.