It is of great academic significance to fully study the development and changes of modern metal sculptures and analyze the underlying causes in-depth, which will help enrich the existing metal sculpture theories and help to clarify the current position and position of modern metal sculptures in China.
First, it is conducive to using the character of the times as an important measure of the artistic quality of sculpture, and to explore the changes in the internal spirit and external form of modern Chinese metal sculpture. The sculpture is an ancient art form developed with the growth of human beings. It has a clear duality, that is, nationality and timeliness.
The nationality of sculpture refers to the relatively stable form composition, expression methods and ideological content formed by the sculpture art in the long-term development process of a nation or group. Epochalism means that the sculpture art must not only inherit and carry forward the traditional artistic spirit, but also Absorb and draw on the forms, concepts, and contents of foreign art, or reinterpret the inherent spirit of traditional art with new artistic language in the context of a new era.
Nationality and era are united and inseparable. Today, with the pluralistic trend of Chinese society and culture, the epochal nature of sculpture art is more and more important. As mentioned earlier, the epochal nature includes not only absorbing the influence of foreign cultures but also re-understanding and interpreting aspects of traditional art. However, looking back at Chinese contemporary sculptures, especially since the 1980s, domestic sculptors competed to imitate and copy the forms and concepts of Western modernist sculptures, neglected the study of traditional art, and fell into the imitation of Western modernist sculptures. On the other hand, the understanding of traditional art is also limited to copying or misappropriating some traditional symbols and elements, without truly inheriting the inherent spirit of traditional art.