Shenyang garden sculpture, select the female body as a symbol of "life" life conceived in maternal, no doubt this is the best interpretation of the language of life. The female body and his works, however, are crippled limbs. Her body to show he was not a specific body image, only to express his sense, think, think, say. His sculptures simplify the head, but exaggerated hips of a symbol of fertility and life-nurturing breasts, our buns into the image of the characteristics of his works. He got rid of the traditional sculpture, complete, perfect body aesthetic image of the original "significant form" memorable.
Yun Xin sculpture was painters and calligraphers from drawing two-dimensional plane, and then three-dimensional sculpture, and thus his free-flowing sculpture, both written in the traditional oriental painting, traditional Western sculpture solid heavy. He tried to respond to their own academic accomplishment and artistic exploration the World Sculpture masters of all the new trends in the history of modern sculpture, in order to establish their own aesthetic character of the sculpture. The beginning of the history of world sculpture from Rodin, the culmination of neoclassical sculpture in this set, the first to the principle of absorption of the same period of Impressionist paintings, from the human, and the pursuit of the "idea of the depth of the form" humanist ideals. After Rodin roughly can be divided into two schools: one faction is inherited the Rodin traditional, continue to be the sense of volume as the form of the basic elements, and generally belong to the realism of the language areas; other faction fled Rodin impact, focusing on pure form absolute value.
As Matisse torso, limbs shaped into like tree trunks, flowers, clearly aware of the group outside of the structure of the human anatomy, block, lump between sculpture bears a separate language. Brancusi summarized as the natural form of the human body geometry, simple and full of inner vitality simple to experience the natural form for the purpose of completely abandon the anatomical structure of the sculpture. Mole from the classical "human sculpture" into a modern language of sculpture. The language of the classical era sculpture is the body's language, Brancusi, Giacometti, Moore et al. Gradually get rid of the shackles of the human anatomy to find the volume and clumps and space metal artwork sculptural language, gradually formed an independent body The language of sculpture outside the new order, since the beginning of the era of modernist metal artwork sculpture. In this historical process, Shenyang garden sculpture logical starting point, not the classical "figure sculpture" but the former monk to create a "the sculptural language" road continue along Matisse, Brancusi. But he is not copying someone, a faction, succinct, summarized, Vivid, quite similar to the Oriental aesthetic spirit is better than the shape of both adhere to the sense of volume of the sculpture, and more in the exaggerated sense of movement and deformation in the pursuit of body rhythm, the pursuit of man and nature, "Heaven," the supreme spirit of harmony.
Shenyang garden sculpture language, can be broadly divided into three categories; Oriental lyrical sense of volume - a solid and lightweight ensemble; imagination of space - the entity space dialogue; embrace nature - man and nature interact.
Oriental lyrical sense of volume - solid and lightweight ensemble sculpture is three-dimensional art, in pursuit of the the solid heavy volume and tension as the basic language. Garden sculpture in Shenyang, the rounded French sculptor Maillol in a simplified form and static rhythms created in the early 20th century, the stable known as the "Mayor female characteristics," buns, "he minimalist shape, the pursuit of vitality and expressiveness of the sculpture itself. Zen works mountain as a solid and stable, "spring", "listening", "rebound Joseph Pa" works like a full sphere and generous, round legs contingent works in the female body to the waist coarse weight and tension is daunting, but all that thin waist, Na scene in the dynamic and charming his sculpture with a sense of weight and a light, elegant and dynamic ensemble, and describe a romantic Oriental flavor.
Space of the imagination - the entity space dial
ogue Yuandiao three-dimensional as guidelines, and Runxin sculpture has chosen to work part flattened, the "Jiao human chest is no longer Fengru like Hanxiong like concave inside, though loss of fullness, and treat the frail shy wholly contains between Hanxiong how complex polysemy emotional Hanxiong in the virtual space. The red marble "love", and that the right chest cavity, how many people guess that a red dot on the left, is not exactly explain deep a red love here? The hair "the youth Sihuo" plots like the flames leapt up, a symbol of passionate youth. His series of works in the Wind ", a reversal of the sense of the weight of the sculpture, changes into a solid entity like leaves, like sailing, although the entity is missing, but the virtual space of the human mind will diffuse proliferation impression of wind that swaying kept the void, to lead the movement in the space? Like Moore's "woman" sculpture, he used the body mass of their body, a new shape and space, its unconventional shape, burst out of a sense of tremendous power, mysterious space, and the hole is so magical and charming. Although the sculpture is a three-dimensional solid modeling, its value is not in its body is true or not, but a body covered in hideaway shades and the elasticity of the language, sculpture hideaway works not exist in deterministic form of the actual situation, and this uncertainty flexible form of ultra regular changes caused by a novel visual experience to the viewers, and the imagination of the people, ideas, the spirit of free liters of fat space. The image of the entity in the virtual space, the sculpture that covered more than just seeing the entities, but also the emotional and spiritual point.
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