Concept Of Image In The Present Chinese Sculpture Creation In The Inheritance And Development

This article maily discusses the inheritance and development of the imagery concept in the creation of contemporary Chinese sculpture, taking "Sleeping Child", "Singing in the bulk of the forest", "Heaven- I" created by Professor Wu Weishan as examples, specifically clarifies how contemporary Chinese sculpture integrates with the imagery concept.This paper reflects the extraordinary power of the originality in the artistic works of Professor Wu Weishan, whose sculptures are filled with oriental human feelings, and have a strong sense of body language knot of the times, with vivid impressionism. I clearly feel that Mr. Wu not only has a deep understanding of the essence of the culture of Egypt, Greece, Rome, but also, based on the five thousand years of Chinese culture, he threads skillfully with the western culture, and creates the age sculpture style through his own thoughts and feelings under the the eastern context.In the process of the creation, China’s sculptures often integrate with the image of the concept, described as image sculpture, that is the difference between the West and the east over so many years. The imagery thinking of the foreign sculptors is far more advanced than our domestic artists who still remain at the level of the figurative sculpture thinking, popular says, nothing like what must be done, which results in the loss of the meaning of art itself, since the human hand can not match the advancement of the machines.Therefore, with the coming of the age full of innovation and the pursuit of artistic individuality, Chinese sculpture, which has gradually distanced fromtheir traditional style for nearly 100 years, is calling for the remodeling its cultural spirit, requiring the domestic sculptors to pick up the impressionistic tradition,carry forward the spirit of traditional Chinese sculpture. "Freehand Spirit" is not a new concept and has already cut a striking figure in the traditional Chinese painting and traditional calligraphy, and has a very profound impact and arouses sympathy.. But Chinese sculpture, unlike the traditional painting, lacks a complete theory and few people can spontaneously respect, understand and practice the unique freehand spirit of Chinese sculpture. Due to the lack of support and guidance of the theory, the rebuilding of the Chinese traditional sculpture system is on rocky footing, and it is more difficult for the language of sculpture to glow novelty.In order to keep pace with the times, the paper comprehensively interprets the "Freehand brushwork spirit", including its meaning, its role for Chinese traditional sculpture and the integration of the both. The purpose is to look through the phenomenon for the nature, seeking for its connotation of the times, so that our tradition artistic spirit can develop on the basis of inheritance, to be innovative in the process of development, thus the modern Chinese sculpture can undertake more of the times. As a successor, I will deeply analyze the pioneer Wu WeiShan, to explore its "freehand spirit" in the impressionistic sculptures and thereby to search for my own creative direction, to reflect the spirit of Chinese Culture, with rich connotation, in later sculptures.