What is the background of the origin of portrait sculpture

A long time ago, when the consciousness of human beings was still in a hazy period, they began the activity of carving and shaping figures, simulating objects with sculpture. Since the physical space with the help of material components is directly close to the real life of the flesh, people have discovered the value of self-transcendence in the process of conversion of this form of life. The following is the background of the origin of portrait sculpture that I have carefully organized for you, I hope you like it.

Background of the origin of portrait sculpture

European portrait sculpture

In continental Europe. As early as the 4th century BC to the 3rd century BC, the late Hellenistic art appeared to glorify the portraits of philosophers and poets. Subsequent to the Roman era, the royal aristocracy out of the need for their own ruling purposes. Sculptors were asked to create statues for them directly, which then formed the first climax in the history of portrait sculpture. Each portrait is a specific person, a specific identity, and even a specific place to place. The most common materials for marble, bronze. Roman era portrait from the content, form, material and service object, aesthetic standards and other aspects of a sexual orientation, the subsequent historical evolution and no essential breakthrough. Portrait sculpture is, after all, belong to the art of real people, in? God? The era of relative restrictions. After the low point of the Middle Ages, the Renaissance revived the art of portraiture, which entered its climax again in the 18th and 19th centuries. The figures involved ranged from rulers, scientific and cultural celebrities to the common people. All the sculptors, to varying degrees, made or carved portraits of people. Udon, whom Rodin admired, was the superstar of portraiture at this climax. It was in the 20th century, when tradition and modernity struck hard, that portrait sculpture survived. In addition to Rodin, who was a portrait star at the turn of the 19th and 20th centuries, Manzù, one of the outstanding masters of modernist sculpture, is also exemplary in his portraits.

Portrait Sculpture in Ancient China

The fact that there was no tradition of portrait sculpture in ancient China does not negate the fact that the works of a certain period and place in ancient China had a strong portrait character, and that this so-called portrait character is the solid prototype of life behind the works. It is undoubtedly surprising that a realistic and rational Terracotta Warriors are sandwiched between the romantic and smooth art style of the Spring and Autumn Period and the rugged and unrestrained style of the Han Dynasty. The strong reality of the Terracotta Warriors determines its portrait character. In terms of time, it is slightly earlier than the Roman portraits, but this portraiture did not develop further and become a tradition. The reason for this may be that the birth and existence of portrait sculpture depends on the aesthetic orientation of emperors and rulers. China's royal court nobles had their own view of empire and art. Compared with the West. The same is in the show of power, singing the praises of the purpose, the Chinese royal court nobles often shunned the West's direct molding of their own way, and the use of dragons and phoenixes, lions, unicorns and other beasts, as well as servants, armies, warriors to set off their own greatness and holiness. It seems unlikely that ancient Chinese sculptors would have been able to create direct statues of emperors and daigong nobles. They can give full play to the characterization of the field of servants, geisha, soldiers and other ordinary people, so China's ancient burial figurines can fully display the vivid flavor of life and the author of the deep artistic skills, can be presented in this paper mentioned portraits. Similarly, in Buddhist carving, ancient sculptors were most able to utilize their ability to portray reality in objects such as feeders, luohan, and then bodhisattvas, with the most limited freedom of creation being the Lord Buddha. Portraits such as those at the Shuanglin Temple in Pingyao, Shanxi Province, and the Lohan in the Lohan Hall can be considered extremely valuable. The ordinary characters in the stories of Dazu Shijiao are more life-like and realistic, and many of them can be regarded as portraits of ordinary people.

The conclusion that there is no tradition of portrait sculpture in ancient China does not negate the nourishment of ancient Chinese sculpture for today's portraits. In fact, many sculptors have already made a wonderful practice of drawing on national traditions in portrait creation. It can be asserted that thousands of years of tradition has been and is continuing to feed Chinese sculpture and promote its continuous interpretation.

The development of Chinese portrait sculpture

China's portrait sculpture in the true sense of the word in this century from the introduction of the West, the wind of the May Fourth New Culture Movement, casually brought portrait sculpture into our country. China's earliest batch of foreign old-timers in the learning after returning to China, one after another created a variety of reaction to the revolutionary pioneers, patriotic aspirants, cultural celebrities and other portrait works, in line with the trend of anti-imperialist, anti-feudal progressive cultural movement that is taking place in China, for the progress of national liberation and contributed to the cause of progress. The real climax of the development of Chinese portrait sculpture or after the founding of new China to the present 50 years.

In the twenties and thirties, the talents of French and Japanese students, together with the team from the Soviet Union in the fifties, combined with the specific conditions of China, **** with the construction of the Chinese realism system. The current eight art colleges and universities are different, but all belong to a large system, this system is often mentioned in the past realism system. This system firstly emphasizes the solid basic skills of realism, as well as the method of creation that originates from life and is higher than life. Therefore, art colleges and universities take the creation of commemorative portraits as one of the main teaching courses. Here it is worth mentioning that the older generation of sculptors in the introduction of Western realistic sculpture at the same time, advocate, promote and teach a number of national traditional sculpture essence, for figurative and portrait sculpture of the nationalization of unremitting efforts. Such a system trained students, fully adapted to the needs of social and cultural construction of new China, sculptors created a large number of portraits of heroes, models, workers, peasants, soldiers, intellectuals, ethnic minorities, and of course, a large number of portraits of people who have contributed to society. Especially in the Cultural Revolution swept across the country Mao Zedong statue fever, as well as model sculpture "rent courtyard", "serf indignation" and other class education around the group sculpture, in favor of China's realistic sculpture team as well as the realism system of reform and opening up of the transition to a new era.

The era of reform and opening up for the development of Chinese culture and art provides an unprecedented wide space, each trend of thought, schools of thought, and mutual influence, mutual impact, constituting a magnificent landscape of contemporary Chinese culture and art. The same applies to sculpture. It can also be said that Chinese sculpture is experiencing unprecedentedly good times, as well as unprecedented impact and change. As one of the landscapes, the portrait art works of the new era are also blossoming with their own luster. First of all, due to the great social and economic development, should be the demand of two civilizations construction, a large number of Chinese historical heroes, scientists, cultural celebrities and other outdoor memorial statues for the majority of keen portrait sculpture artists provide the opportunity to show their skills, and secondly is that they participate in all kinds of exhibitions to create a large number of portrait sculpture works. Portrait creation in the new period is more inclined to humanization and internalization, pay more attention to the object's individuality, which is in line with the contemporary society's concern for human nature and humanity.

There is no doubt that the traditional realism has been shaken by the strong impact of new trends and schools of thought. Portrait sculpture may easily be regarded as too old, too traditional, but the author believes that at any time, as long as there are people, portrait sculpture will have the value of existence; at the same time, the author also believes that contemporary Chinese portrait sculpture should and can get out of the old? old? s predicament, to keep up with the? modernization?

The creation of portrait sculpture aesthetic guidelines

? God and form? is the most basic aesthetic guidelines for the creation of portrait sculpture in China, but also the methodology, Chinese portrait sculptors know? The Chinese portrait sculptors all know that the Chinese portrait sculptures are not only aesthetically pleasing, but also a methodology. Its main content is the portrait works in reflecting the character object to achieve the perfect unity of form and spirit. As a method, the sculptor is required to fully grasp the life data of the object, the shape and spirit of the object to carry out some rough and extract the essence of the digested, and ultimately sublimated the object of the form and spirit of the individual characteristics, and then create a? The form and spirit of both? The author of this article believes that 100% of the works are of the same quality. The author of this article believes that this 100% faithful to the object? The author of this article believes that this 100% faithfulness to the object's "perfect form and spirit" is not enough for portrait creation. It is not enough for portrait creation, the danger lies in putting the author in the position of a mirror of the faithfulness and the object, and his works show the non-existence of the author. Here, the author would like to propose: in the faithfulness to the object? The author would like to propose here that, under the premise of faithfulness to the object? The author would like to propose that, under the premise of faithfulness to the object, there is another kind of? The author would like to propose here: another kind of "both spirit and form" under the premise of "faithfulness to the object". that is, the author's creative personality. The author's creative personality. That is to say, the author's creative personality. The "both form and spirit should cover both the object and the subject. Advocating the conscious display of the artist's personality in portrait creation is the best way for Chinese portrait sculpture to come out of the? The old? One of the measures to get out of the old dilemma of Chinese portrait sculpture. Here put forward the creation of personality does not negate the reality of China's good portrait sculpture works with the artist's personality, especially a large number of senior sculptors engaged in the creation of commemorative portraits, their works are able to show their own different from others' artistic personality. But the author believes that, from the total Chinese portrait sculpture status quo, the artist's creative personality in portrait creation needs to be further awakened. Where the portrait works of western sculpture masters show the art of their own artistic personality is obvious. Raikairo's "rent yard" does not lack the author of the consistent characteristics of the majestic form, as well as his heroic aesthetic value of the consistent orientation; Udon's portrait of all works no matter how different reflecting the object's personality and modeling point of view, but does not lose his personal kind of rigorous, profound and noble artistic style; we look at Rodin, from his portrait works "Daru", "Hugo", "Farnier" to "Balzac", no matter how the evolution of the portrait works, the artist needs further awakening. No matter what kind of evolution, Rodin's unique way of shaping and the pursuit of light and shadow is obvious; Bourdelle can put his own pursuit of architectural sense into his portrait; Epstein's kind of surface lock broken shaping texture has always been shown in his different portrait works; and Mann's portrait works and his other works, always overflowing with his own kind of simplicity and generosity, The portrait works of the Mann tribe, like his other works, are always full of his own kind of simple and generous, easy and subtle artistic mood.

The artist's own? This creative subject of the? Form and spirit? The display, perhaps the artist to study and express the object of a unique method, or a special angle; perhaps the artist is accustomed to the unique shaping of the language, or personalized physical language; perhaps the artist is used to advocate the aesthetic mood, and so on.