抽象雕塑——一部争取独立的奋斗史

Abstract Sculpture——A Hard-working History for Independence

本刊继续上一期，就雕塑与抽象的概念，从艺术学术层面，对抽象雕塑在现代艺术发展过程中的存在价值以及发展趋势，进行深入的甄别剖析和理论梳理。本期刊出朱尚熹、李秀勤、何力平、王梦佳、乔迁所著论文五篇，针对抽象雕塑的语言是否独立作为一门艺术形式存在；抽象雕塑教学体系与中国美学思想框架下的书法意象融合：抽象制造泛滥之负面影响；抽象在转化过程中的发展轨迹；世界著名抽象雕塑作品中所启示出来的象征意义等问题，继续展开学术研究。

There are two biggest obstacles for the learning and research of abstract sculpture. First, abstract must be likeness; Second, the form must be content. The former is due to the long-term influence of art imitation, which is suggested in ancient Greece .The latter is mainly influenced by the form and content. To sum up, there are three directions to expand and deepen the revolution of modern sculpture to imitation: the simplification of human form; the deconstruction and reorganization of human form; out of the human form shackles for the whole world of organic form. The effort of these three directions gradually gave birth to abstract sculpture. Abstract sculpture without annotated significance of literary and imitation for the objective object ,it becomes a separate art form, we can say that abstract sculpture is the abstract sculpture, and the language of abstract sculpture is thinking, physical, space, and material is content.