According to the interpretation of the dictionary, “morphology†means “the shape or expression of thingsâ€. Morphology is “the science of studying the external shape, internal structure and its changes of objectsâ€, and the term “language†used in conjunction with it is “alternative language representationâ€. The way or action of meaning." According to this, the sculptural language can be understood as follows: After comprehensive consideration, the sculptor uses certain processing methods to act on specific materials to create a real form with a certain meaning. The sculptural form language is the processing method formed in the creative process. The sculptural language is the result of the artist's thinking and action around the content and form of the work, including content selection, material selection, formal expression, and functional use. It involves the ideology and cultural background of the sculptor's time and space, and permeates the specific thinking of human beings. This kind of thought runs through all aspects of creation and forms a unique artistic work. 1 The content of the sculpture selects thousands of objects in the world, and countless, all of which bring diversity to the choice of content. The artist is screened, processed and processed, up to the cosmic horoscope, as small as the proton structure, from the conscious theme reproduction, to The arbitrariness of the form can be concentrated in the sculpture as long as it has a meaningful form. 2 sculpture material selection sculptures forever, in addition to its spirituality, but also benefit from the use of durable materials, different materials have different forms, specific gravity, color, strength, etc., its performance on the theme of expression, modeling processing, production The influence of procedures, processing methods, application scope, etc., the correct selection and rational use of materials, that is, the degree of understanding and control of materials, is an important part of the formation of sculptural language. There is no material in the world that cannot be used. The key is whether people discover the beauty of the material and can show its characteristics. Daqian World is rich in natural resources. The development of modern industry is constantly adding new artificial materials. With the advancement of science and technology, from the perspective of development trends, man-made materials will continue to emerge, which provides material protection for deepening content and rich forms. . 3 The construction method of sculpture is still in addition to engraving and shaping. Modern sculpture production is no longer limited to the processing of engravable or plastic materials. Various molding techniques have been incorporated into sculptures, such as: weaving, collage, and sticking. Picking, nailing, welding, cutting, forging, casting, setting, etc., they are used alone or in combination with each other to form a three-dimensional shape in space, expanding the scope of sculpture. In terms of structural elements, various basic forms are distinguished, such as point stereo, line stereo and face stereo. In terms of construction processing, through repeated, gradual, common, illusion, omission, color, decomposition, combination, etc., a complex and varied form vocabulary is formed. Sculptors can use the above-mentioned elements and treatment methods to achieve artistic effects through rigorous reproduction. It can also emphasize subjective consciousness, using the separation and combination of points, lines, faces, and bodies in space as the entry point, and constructing the three-dimensional form through its interaction. It can also fuse the imagery and abstraction into one, respect the objective reality, and emphasize the rational analysis. It uses the inductive method to simplify the image and reflect its characteristic parts, so that the sculpture shape has an objective image and subjective meaning. 4 The function of sculpture For the sculpture, in addition to aesthetic education, functional development is yet to be further enriched. Traditional and traditional utensil sculptures in the East and West have been examples, and the modern urban environment provides a new carrier for sculpture use. Such as: sculpture and architecture, architectural components (gates, columns, walls, etc.), urban service facilities (telephone booths, kiosks, bus shelters, isolation piers, fences, bollards, rest chairs, lighting fixtures, chronographs, etc.), life Recreational facilities, advertising signs, etc. The above is just a simple listing, objectively providing entry points and feasibility. If the works are combined with sound, light, electricity, water, fire, etc., the static sculptures will show the state of movement, the changing light and shadow, the beautiful music, the flowing water body, etc., which are all worthy of exploration by today's sculptors. In contrast to the teaching and creation of sculpture, the knowledge reserve is obviously insufficient. It is true that this historical reason, the history of sculpture has lasted for nearly 10,000 years. Relatively speaking, the sculpture industry has not received much attention in China in the past. Due to the secular concept, there are few reasonable positions of sculptors, and it is impossible to develop in a personalized form. Especially in the aspect of sculpture education, for a long time, it has been the form of hand-workshops for mentoring and apprenticeship. No theoretical writings have been passed down to the world. The rules of sculpture art have not been systematically summarized, nor have normative teaching systems, no matter in theory or practice. On the other hand, cultural lag is more obvious than sister art. Chinese mainstream sculptures truly reflect the real society and serve the public's living space. After the 1920s, people of insight traveled across the oceans, and sculpture teaching systems were introduced from Japan and France. In the 1950s and 1960s, the teaching model of the former Soviet Union was supplemented, and a group of sculptures with certain cultural standards were trained to form a sculpture team with a large scale, which laid the foundation for the development of modern Chinese sculpture. In the meantime, due to many reasons such as frequent wars, political interference, and economic constraints, the content of sculptures is extremely narrow and single, and the study of morphology is only preliminary. From the late 1970s to the early 1980s, the open door opened, and the styles of the East and West for thousands of years were almost in front of the Chinese. In the context of such a big collision, great integration, and great development, the field of contemporary Chinese sculpture art is inevitably disordered. The traditional Chinese art has not yet been restored. The essence of Western sculpture has not yet been absorbed. The modern sculptures have not been studied, and the behavior and type of equipment have not been studied. The concept art has already come to the fore. Under this circumstance, in the teaching and creation of sculpture, it is particularly urgent to vigorously advocate the exploration of the language of sculpture and enrich the vocabulary of sculpture expression. Forming a stylized and individualized sculpture group and individual is undoubtedly the maintenance of sculpture spirit and the development of sculpture art. A practical approach.
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