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1期 of 2009year
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38-39 by Wu Weishan:Emile Antoine Bourdelle is another great French sculpture of the Rodin era.His art has extolled the great human spirit in grandeur and scope of a heroic epic.We can learn the experience of the tragic,the dignified and the sublime from his sculpture works, and this is another example of the eulogy of the noble spirit starting from the Greek period in the West.This article,written with great ease,will take us into Bourdelle’s Sculpture world,to appreciate his orchestration of the heroic symphony.

40-41 by Song Weiguang,edited by Peng Yue:Editor's note:Although Li Xiangqun’s works are in figurative style,they are not the imitation of nature.His artistic starting point or attention,in representation of the great historical figures,is to convey the innermost implication with the concealment of the outer appearance.The concealment is appeared in the way of symbolic and indicative approach.With regard to his artistic means,we talked with Li Xiangqun about his works’ themes,starting-point,way of thinking,as well as his understanding of materials and education.

44-45 by Li Song:Editor's note: Taoiam is china’s traditional indigenous culture.For quite a long time,the academic circle hasn’t done enough systematic researches on the Taoism statuary art.From now on,this column will publish a succession of research essays on Taoism statuary by Professor Li Song of Beijing University to give the readers a deeper and more comprehensive understanding of this native culture.

50-51 by Sun Zhenhua:Editor's note: The term “Shanzhai” was first brought into the spotlight from the bubbling and gurgling of the “Shanzhai Mobile Phone” uproar not a long ago.Recently,“Shanzhai” has become one of the most popularly used Internet word. It exemplifies the phenomenal force of the un-official IT industry,which mimics brand-name mobile phones and other digital products.Its unique manufacturing strength is both fast and cheap.On one hand,the “Shanzhai”culture has its roots deeply in the mass wisdom.On the other hand,it has caused wide-ranging controversy over its brinkmanship to brink the laws.The “Shanzhai” phenomenon in culture and art has also drawn more and more concerns.Those who copy;appropriate others’ works,to claim in a fraud the creations are genuinely their own,are encroaching upon other people’s cultural achievements,and are a show of lack of confidence.We can also find “Shanzhai” examples in the sculpture field.The rise of the “Shanzhai” culture coincides with the thriving of the popular culture.It is anti-authority,anti-monopoly and anti-elite in its grass-roots essence,but it is also destructive to the normal social order.
This issue introduces the column “Eye on the Present”.Its aim is to pay close attention to the newest social and cultural phenomena of the present,to observe and truly the art of sculpture in the broader social and cultural background,and to generate our readers’ reflection and discussion.

54-55 by Wei Guang:Editor's note: An artist’ success can be attributed in some way to the establishment of personalized symbols,and symbolization could have pushed the implication of artistic symbols towards the status of pan-symbolism.For a long time,there is a vague understanding on this regard.In this issue,the critics carry out discussions of this phenomenon from the aspects of the creation of ideas and the creation of forms,hollow-hearted stylization and so on,in order to gain more understanding on this topic.

60-61 by Zhou Anping :Abstract: All kinds of pagodas in Tibet have not only provided the original forms for the cast-relief art “Tsha-tsha”, but also stimulated its development.The art of “Tsha-tsha” is abundant in contents and forms,and has been widely circulated in Tibet from the ancient times up to now.“Tsha-tsha”also simulates the forms of the pagodas,as simulates their essential meaning,and develops continuously with the needs of historical change and faith.
Key Words:Tsha-tsha,pagodas,cast-relief,art

62-63 by Li Wei:Abstract: This article starts with a discussion of the unique formal presentations of the African
sculptures.It looks into African sculptures’ formal characteristics with categorization of their stylistic differences.
In its narration,it also pays attention to their influence on modern sculpture and sculptors.It tries to establish that
 in esthetic development,formal beauty has always been an attractive subject of contemplation.
Key Words:Africa,woodcarving,form,characteristic

64-65 by Chen Yongxiang:Abstract: So far many specimens of the Majiayao culture’s painted pottery basins,jars and pots decorated with dancing image patterns have been unearthed.They have caught a lot of domestic scholars’ attention.The delineation of “human” figures on these painted pottery objects mirrors the evolution of dancing and witchcraft in the life of our primitive western ancestor,especially their combination of witchcraft rituals with narrative description.They form part of the long-term developmental process of culture and art that goes on from,the figurative to abstraction.
Key Words :Painted pottery,dancing,decoration,witchcraft ritual

66-67 by Zheng Fengyin,Ai Yuting:Abstract: Originated in the late 1970s,modern Chinese ceramic art has witnessed its
nearly 30-year-old history.But on the development coordinate of modern Chinese ceramic art,Western ceramic references
can be seen almost everywhere.So there is a continuing exposure of awkwardness and embarrassment coming out of its
facile prosperity.At the same time,in order to maintain its special national identity,one has to rethink the scope
 and orientation of the development of modern Chinese ceramic art,so as to lead Chinese ceramic art to a healthier
developmental order.
Key Words:Modern Chinese Ceramic art,development,creation

80-81   by Wang Mengjia:Background Introduction:Today,the cultural industry is a hot tide.We can use it as a new force to tackle some problems of contemporary China.But,compared to that of the developed countries,our cultural industry is still at a preliminary stage of development.It is not natured,nor is it lack of difficulties.Important experiences need to be learned.Shangxi yude is a leading company of Chinese bronze foundries.Its developing road for 17 years could provides us with good experiences and examples which we can draw lessons from in creating cultural industries with Chinese characteristics.Its growing philosophy can be summed up into six phrases:culture-oriented,innovation-motivated,integration-minded,situation-assessment,integrity,and loving the company.Our publication will share their stories with our readers in 2009.Here is the first part,culture-oriented.

82-83 by Andrew Phelan,translated by Chen Xing:This article,written by Andrew Phelan,professor of the Oklahoma University introduces us to a comprehensive knowledge of the current status of sculpture teaching in the United States.By making the artists’ development as examples,he has discussed the dual relationship between art education and artistic creation,and presented us a complete picture of American sculpture education which evolutes from tradition towards modernization.


04"The Second China Changchun International Sculpture Symposium" Summary/
       by Liu Tianfu,Yang Shaoqing
07  The Humanities Platform—Chinese Contemporary Young Sculptors' Experimental
        Portrait Exhibition in Tianjin/by Dong Tu
08   The Multidimensional Angles of View on Fusion and Orientation—Summary of the
       14th China Sculpture Forum/by Xiao Lin
10  Return to the Indoor Once Again—Writing after "the Small Scale Metal Welding
       Sculptures Exhibition"/by Chen Peiyi
12  The China Impetus of this New Year—Conversation with Fan Weimin about the
       2009 Chinese International Sculpture Almanac Exhibition/by our reporter
14  Politic,Public,Individuality?Problems Involving Outdoor Sculptures—Reflection on
       the Xihu International Invitational Sculpture Exhibition/by Long Xiang,Shan Zeng

18  Watch or Listen to the Holes or Openings,Savour the Abstract Sculpture from
        Liu Qun/by Teng Xiaosong
22  Yan Yukun  24 Zhu Zhaolin  28 Tan Xun  32 Zhu Bingren
34  Zheng Shengning

38  The Heroic Symphonies—To Observe the Beethoven Statue Series of Bourdelle/
        by Wu Weishan
40  An Interview With Li Xiangqun/by Song Weiguang
44  Early Taoism Statuary around Changan—The First Part of a Serial Summaries of
        the Chinese Taoism Sculpture/by Li Song
51  The Harm of Shanzhai/by Sun Zhenhua   
51  Sculpture's Duplication and Transformation/by Wang Lin
52  Entertainmental Popular Culture in the Consummerist Era—My Views on the
        Shanzhai Culture/by Jing Yumin
53  The Riproaring Majority or Hippie Consumerism/by Da Shu
54  This issue's theme:the Phenomenon of Symbols and Pan-symbols
        Talking about the Creation of Concept and the Creation of Form/by  Wei Guang 
56   The Semiotics in the Era of Imitative Images in China/by Guo Yaxi 
57   The Revelry of Contemporary Art and Feast of the Symbols/by Jiang Wenbo 
58  From the Significant Form to the Empty Formula/by Wang Zhonglin
60   The Pagoda Subject of Tsha-tsha/by Zhou Anping
62  Carvers' Art—My Study on the Formal Languages of African Wood-carving/by Li Wei
64  The Dancing Image Decorations of the Painted Pottery in the Primitive Era/by Chen Yongxiang
66  On the Direction of Modern Chinese Ceramic Art/by Zheng Fengyin,Ai Yuting
67  The Correlation between Traditional and Modern Sculpture Languages/by Huang Yang
70  Works by Teachers and Students from the Sculpture Department of the  Fine Art
        College in Harbin Normal University

76  The Ancient War in Zhulu and "the Academic Relief"/by Wang Changxing
78  Reflections on Contemporary Chinese Public Art/by Weng Jianqing

80  YuDa's Road towards Cultural Industrialisation,Culture-oriented/by Wang Mengjia

82  Sculpture Education in the United States/by Andrew Phelan,translated by Chen Xing
86  A Big Havest—Introduction to the Works by the Graduates from the Fine Arts
       Academy of the Chonbuk National University, Korea/by Wen Ji
88  Impressions of Chinese Sculpture/by Dina Merhav,translated by Mengjia
90  Environment & Cross-time—the 2008 Annual Exhibition of the Japan Environmental
        Art Society/by Zhang Wei
93  A Peruvian Sculptor and a Sculpture Garden in China

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