中国雕塑
2010-1
五洲传播出版社
肇文兵
151
Emerging from one of the oldest civilizations, Chinese sculpture has thrived for thousand of years. As time I moves and culture evolves, Chinese sculpture has also taken different paths in different regions and cannot be easily categorized into a few types. Chinese sculpting did not evolve in a single path and style does not stay the same. It grows as time schange and culture evolves. More impressionable than painting, the development of sculpture is often closely allied to the historical context. The life of sculptural arts is typically bound with the prosperity of the country. Take Chinese sculpture as an example. Sculptures characterizedby stateliness and ritualism emerged during the Shang and Zhoudynasties （1600-221 BC）; pieces full of majesty and cohesionsur faced during the Han （206 BC-AD 220） and Tang （618-907）dynasties; the Wei, Jin and Northern and Southern dynasties（265-589） produced Buddhist images full of religious influence and spirituality; pieces from the Song Dynasty （960-1279） are exquisite and moderate; while the Ming and Qing dynasties（1368-1911） produced colorful and secular sculptures. Chinese sculptural art first emerges in the Neolithic Age（10000-4000 BC）. The simplest sculptures correlate closely with early witchcraft, such as the stones arrangement and clay and pottery sculptures representing women found in graves of primitive man. They show a relationship between the sculptures and the beliefs of primitive man.
Chinese sculptural arts have gradually developed their own style over time and managed to display aesthetic features and cultural concepts unique to ancient China. The development of Chinese sculpture parallels the history of the ancient Chinese culture and aesthetics. It is a visible witness to the cultural fusion and exchanges between the Hans and other ethic groups as well as between the Chinese and foreign cultures.
Zhao Wenbing, born in 1975 in Changchun,Jilin Province, is doctoral candidate of the Academy of Arts and Design, Tsinghua University tutored by Prof. Zhang Fuye. She graduated from the Central Academy of Artsand Design in 1999 and worked as a teacher in the Art Theory Department of Luxun Academy of Fine Arts in the same year. She obtained the MA from the Academy of Arts and Design,Tsinghua University in 2006. Since July 2006,Zhao has worked as the part-time editor and column director of the magazine Arts and Design. She has many dissertations public she don the core periodicals of arts and design.
ForewordBeginnings of Chinese Sculpture Pottery sculptures in primitive times Jade sculptures in primitive timesFerocious Beauty of the Central Plains Civilization Shang——Magnificent ferocity Western Zhou——Simple dignity The Spring and Autumn Period and the Warring States Period——Slim and graceful luxuryThe Mysterious Culture of the Ancient Shu Sanxingdui culture Standing bronze figure with multiple identities Suspected alien bronze heads Large bronze masks with vertical eyes and straight earsEmperor Qin Shihuang's "Underground Army" What are tomb figures? Excavation of Qin terra-cotta warriors and horses Shape of Qin terra-cotta warriors and horses Terra-cotta horses and bronze chariots and horses Chinese realismMagnificent Stone Carvings from the Han Dynasty Large stone carvings The tomb of Huo Qubing Horse Stepping on a Xiongnu Soldier Making a tomb Qilian Mountain Artlessness behind handiness Skillful but not exquisite Carved stone animals in the Eastern Han DynastyIntroduction of Buddhism and the Blending of Cultures Mogao Grotto images Maijishan Grotto images Yungang Grotto images Longmen Grotto imagesThe Dignity of "the Kingdom of Heaven" Guard beast figures in the Wei, ]in, Northern and Southern Dynasties Emperor stone carvings in the Tang Dynasty Pottery figures in the Tang Dynasty tombsIntegration of Buddhism, Taoism and Confucianism Painted sculptures at Jinci Temple Buddhist statue at Qinglian Temple Dazu rock carvings"Colorful" sculptures from the Ming and Qing dynasties Ming-style painted sculptures at Shuanglin Temple Statues of 500 Arhats at Qiongzhu TempleGorgeous Residences Qin tile carvings and Han eaves-tile ornaments Relief sculptures on Que from the Eastern Han Dynasty Ornamental architectural sculptures of the Sui and Tang dynasties Stone architectural sculptures of the Yuan Dynasty Architectural sculptures of the Ming and Qing dynastiesDelight of Folk Art Qiaoer "Muhura" Playing toys——Big Afu Hand-made figures based on traditional Chinese operas and Clay Figurine ZhangSculptural Style in the New Era 1911-1949: Western style gradually played a role in the turbulent eastern world 1949-1979: From revolutionary passion to formula-style art From 1980-the early 21st century: Conceptual sculptural art showing public awarenessAppendix: Chronological Table of the Chinese Dynasties
插图：Another two bronze heads unearthed from the No.2 pit are also very distinctive but without the goldmasks. One hatchet-faced bronze head is 13.6cm in height with knife-shaped eyebrows, big eyes, typicalsnub nose, wide mouth and big ears. In fact, the facial features are very common with today's Qiang and Tibetan people in Sichuan Province. The Shu people highlight such facial features with exaggeration and show a kind of stylized features. On top, the head has a plait-and-band-shaped decoration, which maybe plaited hair or a decoration to secure a crown, which is also similar to the dressing style of some areas in today's Sichuan. The bronze head has a clear shape and an honest and sincere face full of local characteristics.The other 51.6-cm-high bronze head wears a hair stick without a gold mask. It is an integral piece made by the whole casting technique. It has round vertex and looks like it is wearing a helmet. There are butterfly shaped hair ornaments at the back of head. Its hair is put up with a broad hair band in the middle.
《中国雕塑(英文)》由五洲传播出版社出版。
