THE WAY TO UNDERSTANDING THE SCULPTURE
Sculpture, like other arts, is a record of human experience. From earliest times to our own day, sculpture records experiences that range from wars and worship to the simplest joys of seeing and touching suspended shapes designed to move in the wind. In sculpture there is everything from the marble gods of Phidias to the mobiles by Alexander Calder. People everywhere has found the need for sculpture, whether it be in work, in play, or in prayer. Sculpture also records the desire to commemorate the deeds of nations and of individuals.
Standing at the top of the heights of human’s culture and art at the turn of the 21st century, we see an accumulation of eastern and western art of centuries piercing through the tunnel of time and speeding towards us. In an instant, it comes to our consciousness though motion and still belongs to two completely different sensory experiences. When we stretch our arms to embrace them, they will dash to us, while we stand sideways, they are, otherwise, settled still in the passage of time. Here a change in angle creates two kinds of stimulation, sharply different but equally overwhelming. Actually, distance of time and space between the ancient Roman statue and the flying pigeon can be neglected as long as human’s thinking can not reach anywhere, not to mention the ancient moon. Hoken’s research into the origin of the universe in the wheelchair convincingly prove the fact that the universe in man’s eyes sill become vaster and more magnificent as long as human’s thinking extends as extensively as possible. Such is the long-held principle of the Sunshine Sphinx studio--- human’s thinking can surpasses accumulated power of physical objects.
UNDERSTANDING SCULPTURE
Tradition in Sculpture
Each period in art is a link in the golden chain of creative a achievement. If sculptors use historical examples and techniques to sharpen their vision, to deepen their insight, and to solve their problems, they use tradition creatively.
Lighting and Point of View
While working on a statue, the sculptor relies on proper light to study the planes by which masses turn from the light into the shade, creating the sense of solidity and third dimension. Only by light properly cast can he study shape, texture, and character.
The sculptor strives to show his finished work in the same light by which he worked originally. A light cast too weakly or too strongly from a source too high or too low can undo the effort of the sculptor and destroy the effectiveness of his creation。
éå»,åæ¬¢å ¶ä»çèºæ¯,æ¯ä¸ç¬äººç±»ç»éªçè®°å½ãä»ææ©çæ¶ä»£å°æ们èªå·±çæ¥åï¼éå»è®°å½ç»åä»æäºåå´æå°è§å°èä¸ç¢°è§¦çæç®å欢åçé£èå´è¢«è®¾è®¡çä¸æ¢å½¢ç¶æ¬è¿é£ã å¨éå»ä¸ä»å¸è çéå»å®¶ç大çç³ç¥å°å¯å¨è£ ç½®èçäºå山大 Calder ææ¯ä»¶äºç©ã 人们åå¤å·²ç»åç°å¯¹éå»çéè¦, æ 论å¨æ¸¸æä¸å®æ¯å¨å·¥ä½ä¸æå¨ç¥ç¥·ä¸ã éå»ä¹è®°å½æ¬²æ纪念å½å®¶å个ä½çè¡ä¸ºã
å¨ 21 ä¸çºªçæ转以人类çæååèºæ¯çé«åº¦é¡¶ç«¯ç«ç«,æ们åæ们ç»è¿æ¶é´åé©¾è½¦è¶ éçé§éè§å°ä¸æ¹äººçä¸ä¸ªç§¯èèä¸è§å°ä¸çºªç西æ¹èºæ¯åºéª¨çã 马ä¸ï¼å®è½ç¶æµ®ç°å¨æ们çå å¿æè¯è¿å¨å¹¶ä¸ä»ç¶å±äºäºç§å®å ¨ä¸åç¥è§çç»éªãå½æ们伸å±æ们çåèæ¥æ±ä»ä»¬çæ¶å,ä»ä»¬å°ä¼å¯¹æ们çæ·,å½æ们ç«åè¾¹çæ¶å,ä»ä»¬æ¯å¨æ¶é´çééä¸ï¼ä»¥å«çæ¹å¼ï¼ä»ç¶å®é¡¿ã ä¸å¨è§åº¦æ¹é¢çæ¹åè¿é产çåºæ¿çäºä¸ªç±»å,éå©ä¸åä½æ¯ç¸çååæ§ã å®é ä¸ï¼å¨è¿å¤çç½é©¬äººçååé£ç鸽åä¹é´çæ¶é´å空é´çè·ç¦»è½è¢«ç忽ï¼åªè¦äººç±»çæèè½ä¸æ 论ä½å¤å°è¾¾,ä¸è¦åæå°è¿å¤çæ亮ã è½®æ¤ çæ·±å ¥å¯¹å®å®çèµ·æºHoken'sç 究使人信æå°è¯æäºå®ï¼åªè¦äººç±»çæèå°½å¯è½å¹¿æ³å°æ©å ï¼å¨ç·äººçç¼çé¨æ§ä¸çå®å®åå¾æ´å·¨å¤§åæ´åºè²ã å¦æ¤çæ¯é¿è -æ¿çæå¿«çå²è¬å æ¯å·¥ä½åºæçåå--- 人类çæèè½è¶ è¶ç´¯ç§¯å®é ç©ä½çåéã
ç解éå»
? éå»çä¼ ç»
æ¯ä¸ªæ¶æå¨èºæ¯ä¸å¨éé¾ä¸æ¯ä¸ä¸ªèç¼æåé åçä¸é¡¹æå°±ã å¦æéå»å®¶ä½¿ç¨åå²çä¾ååææ¯ä½¿ä»ä»¬çè§è§å°é, å æ·±ä»ä»¬çæ´å¯å, å解å³ä»ä»¬çé®é¢,ä»ä»¬æåé åå°ä½¿ç¨ä¼ ç»ã
? ç §æåè§ç¹
å½å¤çä¸ä¸ªåçæ¶å, éå»å®¶ä»°èµéå½çå å¦ä¹ é£æºè¢«åªä¸åå°ä»å åæè²åº¦,åé åºä½æ§æå第ä¸ä¸ªå°ºå¯¸ã åªæéå½å°æä»è½ç 究形ç¶ï¼è´¨å°å个æ§åã
éå»å®¶åªå表示ä»æ¬æ¥å·¥ä½çç¸åå ä»çå®æå·¥ä½ãè½»çæ¼åéµå®¹å¤ªå¾®å¼±å°æ太强çå°ä»ä¸ä¸ªæ¥æºå¤ªé«åº¦å°æ太ä½ä¸å°è½è§£å¼éå»å®¶çåªåèä¸ç ´åä»çåé çæåã
雕刻, 像其他的艺术, 是人类的经验一笔记录。 从最早的次到我们的自己日子,雕刻记录经历对看见而且碰触中止的形状最简单的欢喜来自战争和崇拜的范围设计搬进风。 从希腊的雕刻家的大理石的神到亚历山大 Calder 的移动者在雕刻那里中是每件事物。 人们各处有发现对~的需要雕刻,是否它是在工作中,在游戏中, 或在祈祷中。 雕刻也记录欲望纪念国家和个人的行为。
在 21 世纪的旋转以顶端人的文化和艺术的同样高度站立,我们向我们看见东方人的一个积聚而且看见世纪的西方艺术刺骨经过时间和驾车超速的隧道。 马上,它虽然到达 我们的意识提议而且仍然属于二种完全地不同知觉的经验。 当我们伸展我们的双臂拥抱他们的时候,他们将会对我们猛掷,当我们向傍边站的时候,他们否则是在时间的通道中的固定剧照。 这里一个在~方面的改变角产生二类型 刺激, 锐利地不同但是相等地压倒性。 实际上,远古的罗马人的像和飞的鸽子之间的时间和空间的距离能被疏忽只要人思考的无论何处不能到达,不要提到远古的月亮。 Hoken's 研究进入宇宙的起源之内在轮椅中使人信服的证明事实宇宙在男人的眼睛门槛中变得更巨大和更壮大只要人的思考尽可能广泛的扩充。 如此的是长者-拿着愉快的史芬克斯工作场所的原则--- 思考的人能超越累积实际的物体力量。
理解雕刻
? 在雕刻中的传统
每个时期在艺术中在有创造力的一项成就的金链中是一个联编。 如果雕刻家使用历史的例子和技术使他们的视觉尖锐, 加深他们的洞察力, 和解决他们的问题,他们有创造力的使用传统。
? 照明和观点
当处理 一个像的时候,雕刻家仰赖 适当的光藉着哪一使旋转集合从光到色度学习飞机,创造固体性感和第三尺寸。 只藉着光适当地投了罐子他研究形状,织法和个性。
雕刻家努力在他本来工作的相同光中展现他的完成工作。太弱或太强烈地从一个来源太高度地或太低下地能解开雕刻家的努力而且破坏他的创造青春的效力轻演员阵容。