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“一年好景君须记，最是橙黄橘绿时。”
第12届“中国雕塑论坛”把“雕塑与生态”这一国际性的时代热门话题抛撒在“天府之国”成都橙黄橘绿的余韵中。论坛期间，还同时推出颇具拓展性和针对性的“和而不同·西南当代雕塑邀请展”。雕塑理论的探讨与雕塑实践的展示给秋冬之际的中国雕塑界营造出一派热闹非凡的文化景象。
这已是有目共睹的事实：一年一度的中国雕塑论坛成了雕塑界探讨理论课题、解决实际问题、交流实践经验、展示雕塑作品的最佳平台。在《雕塑》杂志的旗帜下，中国雕塑论坛办得一年更比一年好，被誉为“雕塑领域的盛会”、“雕塑家们的节日”。
本届雕塑论坛围绕“雕塑与生态”的大主题，针对“城市雕塑的生态因素”、“城市雕塑建设的生态策略”、“城市雕塑与文化生态”、“城市雕塑与公共环境”、“雕塑与精神文明建设”、“雕塑与小区生态环境”等具体问题展开热烈讨论。近百名与会专家各抒己见。他们对雕塑生态美学的理性思考、对雕塑生态价值的深刻认识、对生态雕塑创作的个案考察以及对雕塑行业生态的切身感受，使这次论坛呈现出学术气氛浓、问题意识强、情感交流深等特征。
似是橙黄橘绿时，此情此景堪须记——
一、对雕塑生态美学的理性思考
生态问题已成为举世瞩目的热点话题。探讨雕塑与生态的关系，是时代赋予我们的重要命题。第12届“中国雕塑论坛”组委会主席、《雕塑》杂志社社长范伟民对这一命题有着广泛而又深入的思考。他曾在题为《环境雕塑与生态建设》的访谈录中就触及到城市雕塑的生态美学问题，而且站在一定的理论高度探讨了雕塑艺术与人类生态环境建设之间的密切关系。《雕塑》杂志副主编陈培一在《论坛随感》中有意识地提到第12届“中国雕塑论坛”从形式和内容都要做出较大调整：将学术问题具体化，将具体问题的探讨又上升到学术理论研究的层面。也许是在他们的感召下，不少专家学者在分析具体问题时都站在一定的理论高度来思考。有几位青年学者还试图对雕塑生态美学做出系统性的理论建构。
黄丹麾的《生态雕塑的美学研究》认为：“雕塑作为一种视觉审美意识形态，与自然、环境、生态密切相关……生态雕塑对生态问题具有独特的认识作用和教育作用，它在消解生态危机的过程中起到了不可替代的作用。”正是基于这样的认识，黄丹麾从生态雕塑的哲学依据、美学支点、美学本质、实践活动等四大方面对生态雕塑予以全面的论述。林建群和张平青的论文《现代环境雕塑设计的生态策略研究》也具有一定的理论建构意味。他们试图通过雕塑生态观的确立，积极倡导整体的生态雕塑设计，并有针对性地提出了现代环境雕塑设计的生态策略以及要达到的目标。
邓乐则通过“活水公园”的建设实践来思考生态艺术的理论问题。在他看来，“公共艺术是一个时代概念，在这个大的概念下，有不同类型、不同性质的艺术主题，生态艺术即是公共艺术在当代的一个重要主题。”王少军对生态雕塑的理解也有着相当强的理性色彩。他认为，公共艺术是一门综合性的艺术。
而郑萍在题为《尊重·融合·和谐》的发言中简要地概括了城市公共雕塑创作的生态观：城市公共雕塑的创作对社会生态的尊重；城市公共雕塑应与环境生态相融合；城市公共雕塑在精神生态中的和谐作用。
还有一些青年雕塑家对“生态”的理解也是十分深刻和独到的。黄勇的论文《雕塑的生态性》探讨了生态的意义以及生态雕塑产生的条件。他认为雕塑生态性的本质意义在于对所处环境的适应性，而雕塑作品的“生态性”具体表现为对文化生态系统的“服从性”，但是，要完成这一任务的必要条件是：雕塑家必须具有“生态雕塑的制作意识”；社会必须建立和营造“生态雕塑的运作机制”。 王宣元在论文《生态雕塑之我见》中也说出了自己的见解：“生态”就在我们身边，它不是一个抽象的概念，而是一种生存态度，我们无需机械地评价什么是生态雕塑，关键在于我们是否在生态雕塑产生的每个环节都用生态的观念来考虑问题。姚艳玲的论文主要探讨了雕塑的空间问题。她对雕塑的物理空间及心理空间的思考其实是与生态有着一定的关系的。姜文涛的《公共空间与艺术》也探讨了公共艺术与公共空间之间微妙而复杂的关系。
严格说来，上述专家学者对雕塑生态问题的思考还不能完全称得上是一种真正意义上的纯学术研究。他们谋求的是学术研究与分析问题的并重。但他们对雕塑生态问题思考的深度和广度都昭示出相当强的理性色彩。
二、对雕塑生态价值的深刻认识
改善人类的生存环境无疑是人类共同的目标。越来越多的人已经认识到，雕塑艺术对当代人类生态意识的觉醒和生态文明的建设起着不可忽视的作用。
范伟民在同有关专家学者交流时说到，雕塑作为重要的环境艺术之一，与生态有着千丝万缕的关系。从事雕塑创作和研究的人，如果头脑中没有生态意识，就不可能让自己艺术创作和学术研究的脚步与时代和世界的节奏一致。
翁剑青认为：“作为构成人类精神寄托和文化审美的雕塑艺术，是城市文化生态的有机组成部分。”他还特别强调：“户外大型雕塑及其景观环境的创作设计，应该考虑到对城市及社区生态环境的适应与爱护，尽量避免对生态和土地的任意占用、改变和破坏……如果人们能从城市长远的、健康的生存理念出发，并在雕塑的形态及其与自然的和谐关系上进行变革的思考，就有可能使旧有的雕塑概念、美学形态及文化价值发生现代性的变化，创造出更多的与自然生态环境相互交融和共生的雕塑形态。”
刘渝认为：雕塑是生态改善中的一种必要的物质存在，充满东方智慧的传统阴阳五行学说对于生态环境的改善具有一定的启发作用。
滕小松在发言中说到，城市的规划和建设都应当有一个合乎人性和天道的生态策略。艺术家在具体进行雕塑设计和环境建设时都要全面、系统地考虑到相关的生态因素。他坚信，在精神匮乏的时代里，城市雕塑一定能发挥“精神环保”的作用，为人们摆脱精神生态的危机做出自己的贡献。
另有不少专家学者探讨了城市雕塑在城市文化生态建设中的作用。孙晓富的论文《城市雕塑与文化生态》认为“城市雕塑以纯粹的精神品质更显审美价值……是凝结文化及文明的载体，体现了一个城市的文化生态。”贾方的论文提出了雕塑创作要从民间文化中吸取营养，并使它融入到都市文化生态之中。徐诚一考察了传统雕塑对生态空间关系的处理，进而强调摩尔雕塑在现代城市文化生态空间环境中的作用。许庾岭也提到公共艺术的文化生态价值，认为城市雕塑对于普通民众文化素质的提高有着不可替代的教育作用。蔡增杰强调了城市雕塑要为构建和谐社会服务。而张晓瑞认为“生态雕塑是人们爱护自然、珍重自然的一种手段”。
一些专家学者在谈论雕塑的生态时更多关注的是它的时代性。李政就阐释了生态意识的时代性，主张以雕塑材料的合理利用和环境雕塑设计的生态意识作为雕塑家的素养和胸怀，来创作出高水准的环境雕塑，从而展示出环境雕塑生态意识的时代性。殷小烽提交的论文《雕塑艺术与时代精神》探讨了雕塑艺术对时代精神的表现，说到：“翻开雕塑艺术史发展的书卷，我们不仅可以看出雕塑艺术的发展脉络，更能清楚地看到人类文明的进程及时代精神的变更。”林梓波、邱国鹏的《论城市雕塑艺术与公共环境》认为城市雕塑应当紧密适应时代精神，必须强化其公共性、环境性、审美性，从而创造出一个富有生气的环境氛围。闫晓琼的论文也同样强调了城市雕塑一定要与城市的时代发展、文化气息相吻合。韩璐的《材料·时代与环境》则介绍了“软雕塑”的发展历程并指出：“发展一种相对‘生态’的雕塑材料进行艺术创作，应该是比较重要、比较有意义的一件事。”
可以看出，专家学者对雕塑生态价值的认识是比较深刻和全面的。更重要的是他们已充分认识到：要想实现城市雕塑的生态价值，关键是创作者和决策者都要有强烈的生态意识和高度的生态责任感。
三、对生态雕塑创作的个案考察
在参加第12届“中国雕塑论坛”的雕塑家和理论家中，几乎有一半以上的人就曾亲自参与创作或策划或主持过生态雕塑的设计和建设。他们有着丰富的实践经验，因而对生态雕塑创作的考察显得十分的具体、实在和亲切。
潘绍棠就从他近期接触到的两个城市雕塑实例说起，一是甘肃省天水市清水县克服多种困难后成功地建成了大型轩辕黄帝像，二是经济十分发达的广东省中山市三乡镇通过了“中心区景观大道城市雕塑群”方案。潘绍棠说，这两个地区的城市雕塑设计方案明确地考虑到了城市雕塑的“社会生态”、“自然生态”、“精神生态”，同时也从发展的角度思考到“社会生态”的互动关系。这两个雕塑实例完全吻合了第12届“中国雕塑论坛”之“雕塑与生态”的主题。他还指出，“从这一主题出发来进行城市雕塑的规划与创作，好似我们找到了一个途径，使得城市雕塑的发展有了新的理论依据。”
包林不仅发表了自己对雕塑文化生态的看法，而且把三峡大坝及其周边地区的环境规划与设计方案向大家作了详细的演示和介绍。由清华大学众多学科和许多专家参与的这项设计充分体现了生态意识，被称作是“人与自然”的再次握手。
受达蒙的后现代生态观的影响，邓乐与沈允庆以专业的造型能力和对生态艺术的满腔热情，创作了一系列的活水雕塑，进而建造了一个生态的活水公园。
最让人感到实在和真切的是肖小裘的发言对地方雕塑家生存处境的描述。他从本土雕塑家的文化生态角度剖析了雕塑家们的生存现状，以谋求和谐发展、共同生存的路子。众所周知，雕塑是美术门类中的“重工业”，产生作品的周期长，出一件作品相当不容易，如果业内人士不相互扶持和提携，那就很难获得成功。最后，他呼吁，坐在雕塑家娘家位置上的专家领导，要为全国各地的雕塑家多美言几句，以宽阔的胸襟来善待同行，在雕塑界营造一个宽松和谐的学术环境，创造和谐的生存空间，希望全国的雕塑家共同来打造一个“水涨船高”的局面，拥有一个温馨的大家庭。
雕塑家们对雕塑行业生态的切身感受已引起中国工艺美术学会雕塑专业委员会、中国《雕塑》杂志社和《中国雕塑年鉴》编辑部的高度重视，他们已联合发起“首度中国雕塑行业生态调查”活动。可以预见：中国雕塑行业生态的调查报告和结果可以为国家职能管理部门提供有价值的决策参考依据，可以显示影响中国雕塑事业发展的积极因素和根本症结，可以展现中国各阶层雕塑家的生存状态，从而为中国雕塑行业的健康发展导航。
到如今，“中国雕塑论坛”已成功举办了12届。它伴随着《雕塑》杂志的发展而逐步走向成熟，成为雕塑界影响最深、规模最大、历史最长的文化艺术品牌。它在不断的探索中谋求发展，追求卓越。第12届“中国雕塑论坛”正是以这种开拓进取的姿态向前迈进的。从上述不厌其烦的描述和评说中，我们领略到了它的丰富内容，也不难感受到它的独特风采。简要地说，第12届“中国雕塑论坛”的独特风采大致体现在如下三个方面：一是学术气氛浓。“中国雕塑论坛”并不是一个纯学术的论坛，但它谋求的是高规格的学术品位。正如陈培一所说的那样，论坛常常把战略性的宏观学术研究与具体实在的问题或项目相结合，努力实现学术研究与解决具体问题的双赢。正因为这样，“中国雕塑论坛”与其他纯学术会议相比显得更加有生气，也更加有学术讨论的气氛。二是问题意识强。论坛期间，与会专家学者结合论坛的主题对成都公共艺术景观进行了考察，对公共艺术的运作模式进行了讨论，还特别就《中国城市雕塑项目设计取费办法草案》进行了专门的研讨。这种把论坛的论题与会议所在地的实际问题或当前大家关注的问题结合起来一并研究，已成为雕塑论坛的优秀传统。三是情感交流深。一年一度的雕塑论坛，常常是雕塑界展示作品、交流感情、互通信息的最好场所。来自全国各地的雕塑家带着一年来的见闻、感受、体验和思索，走到一起来了，就像新老朋友聚会一样。在这次论坛中，雕塑家们不仅共同谈论“和而不同·西南当代雕塑邀请展”，而且相互交流近年来的创作体会。很多青年雕塑家还拿出自己的新作照片向资深的雕塑家请教。此情此景，令人回想，也令人向往。
It was a well-known fact that “China Sculpture Forum” held once a year was the best platform to discuss academic topics, to solve practical problems, to exchange practice experiences and to show sculpture works. With the help of Sculpture magazine, the forum became better year by year. It was called as“a pageant of sculpture field”and“a festival of sculptors”.
Around the topic of“sculpture and ecology”, less than 100 participants had various opinions, they discussed hotly about “ecological factors of city sculpture”,“ecological strategy of city sculpture construction”,“city sculpture and public environment”,“sculpture and spiritual civilization construction”,“sculpture and ecological environment in uptown”and so on. That the rational thoughts about sculpture ecological aesthetics, the deep cognitions to sculpture ecological value，the reviews to examples of sculpture design and the feelings of sculpture field made the forum a character ofdense academia atmososphere and deep sensiblecommunication.
“You should remember all things that happened in autumn when oranges became yellow.”
Ⅰ. Rational thoughts about sculpture ecological aesthetics
Ecology has been a well-known hot topic. To discuss the relationship between sculpture and ecology was a mission that times endued with. Fan Weimin, who was the chairman of organizing committee of the 12th China Sculpture Forum and proprieter of Sculpture magazine, had thought widely and deeply about the topic. He once referred ecological aesthetical question of city sculpture in a remark named Environment Sculpture and Ecological Construction. In the article, he probed into affinity between sculpture and human’s ecological environment construction. Chen Peiyi, who is the subeditor of Sculpture magazine, said in his article Forum Impression that the 12th China Sculpture Forum had a great change from form to content, for example, promoting the discussion from material question to academic theory. On their call, many experts solved material problems in a theoretical level. Several young scholars even tried to build a systemic theory.
It was said in Huang Danhui’s article Aesthetics Study about Ecological Sculpture: as one of visual aesthetical form, sculpture related to nature, environment and ecology nearly. Ecological sculpture had special instructed meaning and played an unplaced role in the course of clearing up ecological crisis. In view of the above, Huang Danhui?commented on ecological sculpture comprehensively from four different angles, that are philosophy basis, aesthetics argumentation, aesthetics essence and practice. Besides, Lin Jianqun and Zhang Pingqing’s thesis Study on Ecological Strategy of Modern Environment Sculpture Design also had a means of theory construction. They tried to advocate doing wholly ecological sculpture by establishing a view of it and made a strategy of it as well as the goal to achieve.
Deng Le considered theory of ecological art by construction of “live water park”. In his opinion, “public art was a concept in a given era. The big concept involved a lot of subjects different in type and character. Ecological art was an important one of them.”Wang Shaojun’s understanding to ecological sculpture also showed rational colors. In his opinion public art was a kind of comprehensive art.
Zheng Ping in a speech named Respect, Fusion and Harmony summed up ecological view on city public sculpture briefly, which was the design of city sculpture should show respect to social ecology; city sculpture should harmonize with environment ecology; city sculpture had harmonious effect in spiritual ecology.
Some young sculptors had deep and special understanding to ecology. Huang Yong discussed the meaning of ecology and conditions of ecological sculpture’s exist. He believed that the essence of ecological sculpture was submission to the culture ecological system. In order to achieve the goal, sculptors must have a consciousness to design it and the society must have a system to carry out it. Wang Xuanyuan had his opinion in his thesis How I See Ecological Sculpture: ecology was just around us. It was not an abstract concept but a living attitude. We needn’t evaluate what was ecological sculpture straitlaced. The key was whether we considered about questions in ecological perspective in every step when they happened. What discussed in Yao Yanling’s thesis was space of sculpture. It had some connection between ecology and her thought about physical space and mental space of sculpture. Jiang Wentao probed into the delicate and complicated relationship between public art and public space.
Be strict to say, what scholars thought above couldn’t be called as pure academic study. They put emphasis on academic study as well as problem-analysis. But the depth and width of their thought showed strong rational color.
Ⅱ.The deep acquaintanceship with ecological value of sculpture
Improving the living circumstances is a corporate aim of human being. More and more people realized that sculpture art took a vital part in disillusion of human ecological consciousness and construction of ecological civilization.
When communicated with related experts, Fan Weimin said that sculpture as an important kind of environment art, had countless ties to ecological. Sculpture designers’ creation and study could not be consistent with the pace of the world and the time, if they were not conscious about ecology.
Weng Jianqing thought that sculpture as a kind of culture aesthetics was a part of city cultural ecology. He emphasized that when designed outdoor lager-scale sculpture, it should adapt to community ecological environment, and avoid arbitrary occupation, change or damage to the ecology and land. If artists thought from a perspective of sustainable development, sculptures compatible with ecological environment might be created.
Liuyu believed that sculpture was a necessary matter in the progress of ecology improving. Yin-yang Five Elements which was full of traditional wisdom had some illumination to the improvement of ecological environment.
Teng Xiaosong said in his speech that the layout and construction of a city should have an ecological strategy according to humanism and nature law. Artists must consider ecological factor systemically in the sculpture design and environment construction. He believed that in the times of lacking spirit, sculpture played an important role in helping people shake off spiritual crisis.
Many other scholars discussed the function of city sculpture in the construction of city cultural ecology. In the thesis City Sculpture and Culture Ecology, Sun Xiaofu said that city sculpture presented aesthetic value by pure spirit; it was a carrier of culture and civilization; it incarnated the cultural ecology of a city. Jia Fang had a notion of mingling sculpture design with city cultural ecology. Xu Chengyi emphasized that Moore’s sculpture had a great function in modern culture ecological space after he had reviewed how traditional sculpture dealt with space. Xu Yuling also referred to culture ecological value of public art. He recognized that city sculpture played an irreplaceable teaching function in the process of enhancing demos’ quality. Cai Zengjie emphasized that city sculpture should serve for the construction of the harmonious society. Zhang Xiaorui thought that ecological sculpture was a kind of means to cherish the nature.
Referred to ecological sculpture, some scholars put emphasis on epochal characteristic. Li Zheng explained epochal characteristic of ecological consciousness, approving creating sculpture by using materials reasonably and consciously. Yin Xiaofeng discussed time spirit showed in sculpture in his thesis Sculpture and Times Spirit. He said that we could see the development of sculpture as well as the course of human being’s civilization and the alternation of time spirit when we turned our eyes to the history of sculpture. Lin Zibo, Qiu Guopeng said in their thesis Comments on City Sculpture and Public Environment that city sculpture should adapt to time spirit and their characteristics of public, environment and aesthetics should be strengthened to create a living environment. Yan Xiaoqiong also emphasized that city sculpture should be harmony with development of times and culture. Han Lu introduced the development of “soft sculpture”in her thesis Material, Times and Environment. She pointed that it was important and meaningful to find“ecological”materials to make sculptures.
Ⅲ.Investigation about cases of ecological sculpture creation
Almost over half of Sculptors and theorists participating in the 12th“China Sculpture Forum”, have personally created or planned or presided over design and construction of the ecological sculpture. They have abundant practical experiences, therefore investigation on ecological sculpture creation seems very concrete, practical and cordial.
Pan Shaotang talked about two cases of urban sculpture which he had contacted recently, one was the succession in building up large-scale Xuan Yuan Emperor’s portrait after overcoming all kinds of difficulties in Qingshui county, Tianshuicity, Gansu Province, the other was that the design of “urban sculpture group of boulevards for sightseeing in downtown”was passed in Sanxiang town, Zhongshan city, Guangdong Province. Pan Shaotang said, the urban sculpture design in these two areas had definitely considered “social ecology”,“natural ecology”,“spiritual ecology”,and also the interaction relation of“social ecology”from development angle at the same time. These two sculpture cases were identical with“sculpture and ecology”，the theme of the 12th China Sculpture Forum. He also pointed out that, “from this theme to carry on planning and creation of urban sculpture, it seems that we have found a way to give the development of the urban sculpture new theoretical foundations.”
Bao Lin not only gave his own point on sculpture cultural ecology, but also made detailed demonstration and introduction about environmental planning and design of Three Gorges Dam and its surrounding areas. The design in which numerous courses and experts of Tsinghua University participated fully embodied ecological awareness and had been regarded as shaking hands again of“man and nature”.
Under the influence of Damon’s past-modern ecological view, with professional modeling ability and great enthusiasm to ecological art, Deng Le and Shen Yunqing created a series of running water sculpture, and then had built an ecological running water park.
Ye Chijian introduced landscape sculpture of Qi Jiang park in Zhongshan city and thought that these sculptures fully embodied the ecological principles.
Xue Junyou expressed the creating feelings of “Fengshan Sculpture”in“Urban Sculpture and Cultural Ecology”. Sculptors in the province and Xue Junyou planed“2000 Feng Shan Art Activity”together, carried out artistic transformation to a wounded mountain in the city of Jiaozuo. This is the “treatment” to the mountain, also the “cure” of contorted soul.
Dai Yun’s article Adding to Qianling Tomb 10 Tons of Plants introduced an ecological sculpture scheme: Using the tendril, flowers and other plants on both sides of Sima road to swathe, cover, imitate and fill the stone carvings such as the squat stone lions, pommel horses, auspicious beasts, cloud pillar, guest group, civil and military officials etc. These ecological sculptures would mostly adopt the method of“Repairing and leaking vacancy”, and use linguistic pattern of non-tightness and non-permanence to correspond with the immortal royal tomb art. Such sculptures could also dispel the greatly imperial authority narration by the scattered and fragmented shape of works (for example, supplements 61 guests’head with plants, and replenishes the absent part, like head, hand, foot and so on of the stone horse); and tease the imperial dignity through mocking imitation (for example to mold squats lion with plant).
Some sculptors didn’t confine their discussion to simple introductions of themselves and contemporary sculpture works, but investigated cases of others’ sculpture works. Hu Hanping introduced American female sculptor He Simei’s ecological sculptures which were made by bone, skin of insect, fish and reptile, etc. He thought that, the essential understanding about the relationship between human and animal life, and suffering consciousness to nature and life from ecological angle and ecological thinking made He Simei’s works different from others. In Si Kaiguo’s article Trying to Discuss Sculpture Diagrammatic’s Value of Nanjing Changjiang River Bridge, he made research on the Nanjing Changjiang River Bridge sculptures. He thought that Nanjing Changjiang River Bridge sculptures became red classics due to inheritance of achievements of urban sculpture in new China, and had cultural ecological meaning in special time. Shen Li’s article The Concept of Ecological Environment of Tomb Sculptures in Southern Dynasties combed the relationship between tomb sculptures of Southern Dynasties and general form of tomb caving and the surrounding environment. She also realized that Tomb Sculptures in Southern Dynasties demonstrates strong ecological consciousness that can irradiate the contemporary public landscape sculpture design.
Ⅳ.Personal Feelings to Sculpture Trade Ecology
Just like people living in this world, sculptures also grow in this world. Sculpture art is doomed to enjoy certain “order” and “location” in ecosystem of the earth too, and this “Sequence” is “the space of life and spirit” of art. It is not only that sculpture and the environment compose an organic ecosystem, but also the sculpture art itself is“a growing open system”.
It is well known that the design and construction of sculpture involvevarious and complex factors. Its planning and implementation need very strong capacity in coordination. While dealing with the interrelation between the leader, the public, artists and investors, the operation of sculpture art has its own procedure. Generally speaking, the reason thatsculpture art can be implemented smoothly due to the free system to a great extent.This is an “Optimization”to the operation system of sculpture art. And this kind of“optimization” is accommodation and harmonious with the system itself. The harmonious development of this system, more particularly, is the healthy development of the sculpture trade ecology in fact. Sculptors have something more to say about this.
Yang Wei’s article Return to the Village traced the historical process of artists’migration from Old Summer Palace to Songzhuang. In his opinion, the reason that artists’ returning to village was homesickness difficult to release, and dream of natural ecology in village. If the nature living conditions in village were changed, as to artists, it meant cutting off the source of the inspiration and thought retreat.
Tang Peiyong made a detailed investigation to Huian famous as “home of Chinese carving art” and “capital of Chinese stone carving”. His treatise named the Ecology of Carving Art in Huian combed historical evolution of Huian sculpture art, analyzed sculpture industry survey in Huian, discovered problems in Huian sculpture trade, and put forward some rational solutions and measures. He made an ecological report with detailed material, abundant content and penetrating analysis for the sculpture trade of Huian area.
In Sun Zhenhua’s treatise named Top Ten Focus Problems of Chinese Urban Sculpture, he put forward ten serious problems about the design, construction and management of contemporary urban sculpture. In fact, this is also investigation and thinking to sculpture trade ecology in China.
Xiao Xiaoqiu’s speech that made people felt real and true described the survival situation of local sculptors. In the perspective of a native sculptor’s cultural ecology, he analyzed sculptors’current survival situation in order to seek harmonious development and the co-existence way. It is well known that sculpture is “the heavy industry” in fine arts. Because the producing cycle is very long, it is quite difficult to creat a good works. If professors in this trade don’t support each other, it is very difficult to succeed for all of us. Finally, he appealed, the experts and leaders playing the role of sculptors’“mother” should help sculptors over the country, treat counterparts kindly, build a loose and harmonious academic environment in the field of sculpture, create a harmonious living space. He also hoped that the sculptors of the whole country make efforts to establish a big warm family.
The sculptors’personal feelings to sculpture trade ecology command great attention of Sculpture Committee of Chinese Arts and Crafts Institute, Chinese Sculpture Magazine and the editorial department of Almanac of Chinese Sculpture. They have initiated the activity about “First China sculpture Trade Ecology Investigation”. We can foresee that the report and result of China sculpture trade ecology investigation can provide valuable basis for decisions of functional department of the state, display positive factors and roots of problems to China sculpture development, show the survival situation of Chinese sculptors at different levels, and as a result navigate for the healthy development of the Chinese sculpture trade.
Until now,the“Chinese Sculpture Forum”has successfully conducted 12 sessions. It follows the development of the Chinese Sculpture magazine to move towards mature gradually, and becomes a cultural and artistic brand which has the deepest influence, the biggest scale, and the longest history in the sculpture field. It seeks the development and strives for the best in the unceasing exploration. The 12th China Sculpture Forum strides forward by this kind of enterprising posture. From descriptions and comments above, we understand its rich content and unique features. To put it briefly, the unique features of The 12th China Sculpture Forum generally manifested three aspects following: Firstly, the academic atmosphere is thick. The Chinese sculpture forum is not a pure academic forum but one aimed to seek high specification academic savors. Just like what Chen Peiyi said, the forum frequently unified the strategic scholarly research with the concrete questions or projects, and made effort to achieve the double wins of scholarly research and the solution of concrete questions. Just for this reason, comparing with other pure academic conferences, the Chinese sculpture forum appears sprightlier, and has even thicker atmosphere of the academic discussion. Secondly, the question consciousness is strong. In this forum, attending experts combined the subject with the inspection to public arts of Chengdu, discussed the pattern of public artistic operation, and carried on a special deliberation on The Standard Charge of Chinese City Sculpture Item design (draft). This kind of research that unifies the thesis of forum and the local problems or the current matters everybody concerns has become the outstanding tradition of the sculpture forum. Thirdly, the emotion exchange is deep. The annual sculpture forum is frequently the best place for the demonstration of works, the exchange of sentiment and information in the sculpture field. Sculptors from all places come here bringing experiences and thinking, like a get-together of new and old friends. In this forum, the sculptors not only discussed “Together but Different. Southwest Contemporary Sculpture Invitation Exhibition”, moreover mutually exchanged the creation experiences of recent years. Many young sculptors also put out their new work pictures to consult to the senior sculptors. I believe everyone won’t forget those fine images and scenes.
The 12th “Chinese Sculpture Forum” has completed. Theory discussion about“sculpture and ecology”will obviously continue. We believed that, the thought and wisdom of this forum will certainly blossoms and bears fruits in the following sculptural theory and practice; and the fine tradition formed by “Chinese Sculpture Forum” must be inherited and developed in the next forum certainly.
第12届“中国雕塑论坛”把“雕塑与生态”这一国际性的时代热门话题抛撒在“天府之国”成都橙黄橘绿的余韵中。论坛期间，还同时推出颇具拓展性和针对性的“和而不同·西南当代雕塑邀请展”。雕塑理论的探讨与雕塑实践的展示给秋冬之际的中国雕塑界营造出一派热闹非凡的文化景象。
这已是有目共睹的事实：一年一度的中国雕塑论坛成了雕塑界探讨理论课题、解决实际问题、交流实践经验、展示雕塑作品的最佳平台。在《雕塑》杂志的旗帜下，中国雕塑论坛办得一年更比一年好，被誉为“雕塑领域的盛会”、“雕塑家们的节日”。
本届雕塑论坛围绕“雕塑与生态”的大主题，针对“城市雕塑的生态因素”、“城市雕塑建设的生态策略”、“城市雕塑与文化生态”、“城市雕塑与公共环境”、“雕塑与精神文明建设”、“雕塑与小区生态环境”等具体问题展开热烈讨论。近百名与会专家各抒己见。他们对雕塑生态美学的理性思考、对雕塑生态价值的深刻认识、对生态雕塑创作的个案考察以及对雕塑行业生态的切身感受，使这次论坛呈现出学术气氛浓、问题意识强、情感交流深等特征。
似是橙黄橘绿时，此情此景堪须记——
一、对雕塑生态美学的理性思考
生态问题已成为举世瞩目的热点话题。探讨雕塑与生态的关系，是时代赋予我们的重要命题。第12届“中国雕塑论坛”组委会主席、《雕塑》杂志社社长范伟民对这一命题有着广泛而又深入的思考。他曾在题为《环境雕塑与生态建设》的访谈录中就触及到城市雕塑的生态美学问题，而且站在一定的理论高度探讨了雕塑艺术与人类生态环境建设之间的密切关系。《雕塑》杂志副主编陈培一在《论坛随感》中有意识地提到第12届“中国雕塑论坛”从形式和内容都要做出较大调整：将学术问题具体化，将具体问题的探讨又上升到学术理论研究的层面。也许是在他们的感召下，不少专家学者在分析具体问题时都站在一定的理论高度来思考。有几位青年学者还试图对雕塑生态美学做出系统性的理论建构。
黄丹麾的《生态雕塑的美学研究》认为：“雕塑作为一种视觉审美意识形态，与自然、环境、生态密切相关……生态雕塑对生态问题具有独特的认识作用和教育作用，它在消解生态危机的过程中起到了不可替代的作用。”正是基于这样的认识，黄丹麾从生态雕塑的哲学依据、美学支点、美学本质、实践活动等四大方面对生态雕塑予以全面的论述。林建群和张平青的论文《现代环境雕塑设计的生态策略研究》也具有一定的理论建构意味。他们试图通过雕塑生态观的确立，积极倡导整体的生态雕塑设计，并有针对性地提出了现代环境雕塑设计的生态策略以及要达到的目标。
邓乐则通过“活水公园”的建设实践来思考生态艺术的理论问题。在他看来，“公共艺术是一个时代概念，在这个大的概念下，有不同类型、不同性质的艺术主题，生态艺术即是公共艺术在当代的一个重要主题。”王少军对生态雕塑的理解也有着相当强的理性色彩。他认为，公共艺术是一门综合性的艺术。
而郑萍在题为《尊重·融合·和谐》的发言中简要地概括了城市公共雕塑创作的生态观：城市公共雕塑的创作对社会生态的尊重；城市公共雕塑应与环境生态相融合；城市公共雕塑在精神生态中的和谐作用。
还有一些青年雕塑家对“生态”的理解也是十分深刻和独到的。黄勇的论文《雕塑的生态性》探讨了生态的意义以及生态雕塑产生的条件。他认为雕塑生态性的本质意义在于对所处环境的适应性，而雕塑作品的“生态性”具体表现为对文化生态系统的“服从性”，但是，要完成这一任务的必要条件是：雕塑家必须具有“生态雕塑的制作意识”；社会必须建立和营造“生态雕塑的运作机制”。 王宣元在论文《生态雕塑之我见》中也说出了自己的见解：“生态”就在我们身边，它不是一个抽象的概念，而是一种生存态度，我们无需机械地评价什么是生态雕塑，关键在于我们是否在生态雕塑产生的每个环节都用生态的观念来考虑问题。姚艳玲的论文主要探讨了雕塑的空间问题。她对雕塑的物理空间及心理空间的思考其实是与生态有着一定的关系的。姜文涛的《公共空间与艺术》也探讨了公共艺术与公共空间之间微妙而复杂的关系。
严格说来，上述专家学者对雕塑生态问题的思考还不能完全称得上是一种真正意义上的纯学术研究。他们谋求的是学术研究与分析问题的并重。但他们对雕塑生态问题思考的深度和广度都昭示出相当强的理性色彩。
二、对雕塑生态价值的深刻认识
改善人类的生存环境无疑是人类共同的目标。越来越多的人已经认识到，雕塑艺术对当代人类生态意识的觉醒和生态文明的建设起着不可忽视的作用。
范伟民在同有关专家学者交流时说到，雕塑作为重要的环境艺术之一，与生态有着千丝万缕的关系。从事雕塑创作和研究的人，如果头脑中没有生态意识，就不可能让自己艺术创作和学术研究的脚步与时代和世界的节奏一致。
翁剑青认为：“作为构成人类精神寄托和文化审美的雕塑艺术，是城市文化生态的有机组成部分。”他还特别强调：“户外大型雕塑及其景观环境的创作设计，应该考虑到对城市及社区生态环境的适应与爱护，尽量避免对生态和土地的任意占用、改变和破坏……如果人们能从城市长远的、健康的生存理念出发，并在雕塑的形态及其与自然的和谐关系上进行变革的思考，就有可能使旧有的雕塑概念、美学形态及文化价值发生现代性的变化，创造出更多的与自然生态环境相互交融和共生的雕塑形态。”
刘渝认为：雕塑是生态改善中的一种必要的物质存在，充满东方智慧的传统阴阳五行学说对于生态环境的改善具有一定的启发作用。
滕小松在发言中说到，城市的规划和建设都应当有一个合乎人性和天道的生态策略。艺术家在具体进行雕塑设计和环境建设时都要全面、系统地考虑到相关的生态因素。他坚信，在精神匮乏的时代里，城市雕塑一定能发挥“精神环保”的作用，为人们摆脱精神生态的危机做出自己的贡献。
另有不少专家学者探讨了城市雕塑在城市文化生态建设中的作用。孙晓富的论文《城市雕塑与文化生态》认为“城市雕塑以纯粹的精神品质更显审美价值……是凝结文化及文明的载体，体现了一个城市的文化生态。”贾方的论文提出了雕塑创作要从民间文化中吸取营养，并使它融入到都市文化生态之中。徐诚一考察了传统雕塑对生态空间关系的处理，进而强调摩尔雕塑在现代城市文化生态空间环境中的作用。许庾岭也提到公共艺术的文化生态价值，认为城市雕塑对于普通民众文化素质的提高有着不可替代的教育作用。蔡增杰强调了城市雕塑要为构建和谐社会服务。而张晓瑞认为“生态雕塑是人们爱护自然、珍重自然的一种手段”。
一些专家学者在谈论雕塑的生态时更多关注的是它的时代性。李政就阐释了生态意识的时代性，主张以雕塑材料的合理利用和环境雕塑设计的生态意识作为雕塑家的素养和胸怀，来创作出高水准的环境雕塑，从而展示出环境雕塑生态意识的时代性。殷小烽提交的论文《雕塑艺术与时代精神》探讨了雕塑艺术对时代精神的表现，说到：“翻开雕塑艺术史发展的书卷，我们不仅可以看出雕塑艺术的发展脉络，更能清楚地看到人类文明的进程及时代精神的变更。”林梓波、邱国鹏的《论城市雕塑艺术与公共环境》认为城市雕塑应当紧密适应时代精神，必须强化其公共性、环境性、审美性，从而创造出一个富有生气的环境氛围。闫晓琼的论文也同样强调了城市雕塑一定要与城市的时代发展、文化气息相吻合。韩璐的《材料·时代与环境》则介绍了“软雕塑”的发展历程并指出：“发展一种相对‘生态’的雕塑材料进行艺术创作，应该是比较重要、比较有意义的一件事。”
可以看出，专家学者对雕塑生态价值的认识是比较深刻和全面的。更重要的是他们已充分认识到：要想实现城市雕塑的生态价值，关键是创作者和决策者都要有强烈的生态意识和高度的生态责任感。
三、对生态雕塑创作的个案考察
在参加第12届“中国雕塑论坛”的雕塑家和理论家中，几乎有一半以上的人就曾亲自参与创作或策划或主持过生态雕塑的设计和建设。他们有着丰富的实践经验，因而对生态雕塑创作的考察显得十分的具体、实在和亲切。
潘绍棠就从他近期接触到的两个城市雕塑实例说起，一是甘肃省天水市清水县克服多种困难后成功地建成了大型轩辕黄帝像，二是经济十分发达的广东省中山市三乡镇通过了“中心区景观大道城市雕塑群”方案。潘绍棠说，这两个地区的城市雕塑设计方案明确地考虑到了城市雕塑的“社会生态”、“自然生态”、“精神生态”，同时也从发展的角度思考到“社会生态”的互动关系。这两个雕塑实例完全吻合了第12届“中国雕塑论坛”之“雕塑与生态”的主题。他还指出，“从这一主题出发来进行城市雕塑的规划与创作，好似我们找到了一个途径，使得城市雕塑的发展有了新的理论依据。”
包林不仅发表了自己对雕塑文化生态的看法，而且把三峡大坝及其周边地区的环境规划与设计方案向大家作了详细的演示和介绍。由清华大学众多学科和许多专家参与的这项设计充分体现了生态意识，被称作是“人与自然”的再次握手。
受达蒙的后现代生态观的影响，邓乐与沈允庆以专业的造型能力和对生态艺术的满腔热情，创作了一系列的活水雕塑，进而建造了一个生态的活水公园。
最让人感到实在和真切的是肖小裘的发言对地方雕塑家生存处境的描述。他从本土雕塑家的文化生态角度剖析了雕塑家们的生存现状，以谋求和谐发展、共同生存的路子。众所周知，雕塑是美术门类中的“重工业”，产生作品的周期长，出一件作品相当不容易，如果业内人士不相互扶持和提携，那就很难获得成功。最后，他呼吁，坐在雕塑家娘家位置上的专家领导，要为全国各地的雕塑家多美言几句，以宽阔的胸襟来善待同行，在雕塑界营造一个宽松和谐的学术环境，创造和谐的生存空间，希望全国的雕塑家共同来打造一个“水涨船高”的局面，拥有一个温馨的大家庭。
雕塑家们对雕塑行业生态的切身感受已引起中国工艺美术学会雕塑专业委员会、中国《雕塑》杂志社和《中国雕塑年鉴》编辑部的高度重视，他们已联合发起“首度中国雕塑行业生态调查”活动。可以预见：中国雕塑行业生态的调查报告和结果可以为国家职能管理部门提供有价值的决策参考依据，可以显示影响中国雕塑事业发展的积极因素和根本症结，可以展现中国各阶层雕塑家的生存状态，从而为中国雕塑行业的健康发展导航。
到如今，“中国雕塑论坛”已成功举办了12届。它伴随着《雕塑》杂志的发展而逐步走向成熟，成为雕塑界影响最深、规模最大、历史最长的文化艺术品牌。它在不断的探索中谋求发展，追求卓越。第12届“中国雕塑论坛”正是以这种开拓进取的姿态向前迈进的。从上述不厌其烦的描述和评说中，我们领略到了它的丰富内容，也不难感受到它的独特风采。简要地说，第12届“中国雕塑论坛”的独特风采大致体现在如下三个方面：一是学术气氛浓。“中国雕塑论坛”并不是一个纯学术的论坛，但它谋求的是高规格的学术品位。正如陈培一所说的那样，论坛常常把战略性的宏观学术研究与具体实在的问题或项目相结合，努力实现学术研究与解决具体问题的双赢。正因为这样，“中国雕塑论坛”与其他纯学术会议相比显得更加有生气，也更加有学术讨论的气氛。二是问题意识强。论坛期间，与会专家学者结合论坛的主题对成都公共艺术景观进行了考察，对公共艺术的运作模式进行了讨论，还特别就《中国城市雕塑项目设计取费办法草案》进行了专门的研讨。这种把论坛的论题与会议所在地的实际问题或当前大家关注的问题结合起来一并研究，已成为雕塑论坛的优秀传统。三是情感交流深。一年一度的雕塑论坛，常常是雕塑界展示作品、交流感情、互通信息的最好场所。来自全国各地的雕塑家带着一年来的见闻、感受、体验和思索，走到一起来了，就像新老朋友聚会一样。在这次论坛中，雕塑家们不仅共同谈论“和而不同·西南当代雕塑邀请展”，而且相互交流近年来的创作体会。很多青年雕塑家还拿出自己的新作照片向资深的雕塑家请教。此情此景，令人回想，也令人向往。
It was a well-known fact that “China Sculpture Forum” held once a year was the best platform to discuss academic topics, to solve practical problems, to exchange practice experiences and to show sculpture works. With the help of Sculpture magazine, the forum became better year by year. It was called as“a pageant of sculpture field”and“a festival of sculptors”.
Around the topic of“sculpture and ecology”, less than 100 participants had various opinions, they discussed hotly about “ecological factors of city sculpture”,“ecological strategy of city sculpture construction”,“city sculpture and public environment”,“sculpture and spiritual civilization construction”,“sculpture and ecological environment in uptown”and so on. That the rational thoughts about sculpture ecological aesthetics, the deep cognitions to sculpture ecological value，the reviews to examples of sculpture design and the feelings of sculpture field made the forum a character ofdense academia atmososphere and deep sensiblecommunication.
“You should remember all things that happened in autumn when oranges became yellow.”
Ⅰ. Rational thoughts about sculpture ecological aesthetics
Ecology has been a well-known hot topic. To discuss the relationship between sculpture and ecology was a mission that times endued with. Fan Weimin, who was the chairman of organizing committee of the 12th China Sculpture Forum and proprieter of Sculpture magazine, had thought widely and deeply about the topic. He once referred ecological aesthetical question of city sculpture in a remark named Environment Sculpture and Ecological Construction. In the article, he probed into affinity between sculpture and human’s ecological environment construction. Chen Peiyi, who is the subeditor of Sculpture magazine, said in his article Forum Impression that the 12th China Sculpture Forum had a great change from form to content, for example, promoting the discussion from material question to academic theory. On their call, many experts solved material problems in a theoretical level. Several young scholars even tried to build a systemic theory.
It was said in Huang Danhui’s article Aesthetics Study about Ecological Sculpture: as one of visual aesthetical form, sculpture related to nature, environment and ecology nearly. Ecological sculpture had special instructed meaning and played an unplaced role in the course of clearing up ecological crisis. In view of the above, Huang Danhui?commented on ecological sculpture comprehensively from four different angles, that are philosophy basis, aesthetics argumentation, aesthetics essence and practice. Besides, Lin Jianqun and Zhang Pingqing’s thesis Study on Ecological Strategy of Modern Environment Sculpture Design also had a means of theory construction. They tried to advocate doing wholly ecological sculpture by establishing a view of it and made a strategy of it as well as the goal to achieve.
Deng Le considered theory of ecological art by construction of “live water park”. In his opinion, “public art was a concept in a given era. The big concept involved a lot of subjects different in type and character. Ecological art was an important one of them.”Wang Shaojun’s understanding to ecological sculpture also showed rational colors. In his opinion public art was a kind of comprehensive art.
Zheng Ping in a speech named Respect, Fusion and Harmony summed up ecological view on city public sculpture briefly, which was the design of city sculpture should show respect to social ecology; city sculpture should harmonize with environment ecology; city sculpture had harmonious effect in spiritual ecology.
Some young sculptors had deep and special understanding to ecology. Huang Yong discussed the meaning of ecology and conditions of ecological sculpture’s exist. He believed that the essence of ecological sculpture was submission to the culture ecological system. In order to achieve the goal, sculptors must have a consciousness to design it and the society must have a system to carry out it. Wang Xuanyuan had his opinion in his thesis How I See Ecological Sculpture: ecology was just around us. It was not an abstract concept but a living attitude. We needn’t evaluate what was ecological sculpture straitlaced. The key was whether we considered about questions in ecological perspective in every step when they happened. What discussed in Yao Yanling’s thesis was space of sculpture. It had some connection between ecology and her thought about physical space and mental space of sculpture. Jiang Wentao probed into the delicate and complicated relationship between public art and public space.
Be strict to say, what scholars thought above couldn’t be called as pure academic study. They put emphasis on academic study as well as problem-analysis. But the depth and width of their thought showed strong rational color.
Ⅱ.The deep acquaintanceship with ecological value of sculpture
Improving the living circumstances is a corporate aim of human being. More and more people realized that sculpture art took a vital part in disillusion of human ecological consciousness and construction of ecological civilization.
When communicated with related experts, Fan Weimin said that sculpture as an important kind of environment art, had countless ties to ecological. Sculpture designers’ creation and study could not be consistent with the pace of the world and the time, if they were not conscious about ecology.
Weng Jianqing thought that sculpture as a kind of culture aesthetics was a part of city cultural ecology. He emphasized that when designed outdoor lager-scale sculpture, it should adapt to community ecological environment, and avoid arbitrary occupation, change or damage to the ecology and land. If artists thought from a perspective of sustainable development, sculptures compatible with ecological environment might be created.
Liuyu believed that sculpture was a necessary matter in the progress of ecology improving. Yin-yang Five Elements which was full of traditional wisdom had some illumination to the improvement of ecological environment.
Teng Xiaosong said in his speech that the layout and construction of a city should have an ecological strategy according to humanism and nature law. Artists must consider ecological factor systemically in the sculpture design and environment construction. He believed that in the times of lacking spirit, sculpture played an important role in helping people shake off spiritual crisis.
Many other scholars discussed the function of city sculpture in the construction of city cultural ecology. In the thesis City Sculpture and Culture Ecology, Sun Xiaofu said that city sculpture presented aesthetic value by pure spirit; it was a carrier of culture and civilization; it incarnated the cultural ecology of a city. Jia Fang had a notion of mingling sculpture design with city cultural ecology. Xu Chengyi emphasized that Moore’s sculpture had a great function in modern culture ecological space after he had reviewed how traditional sculpture dealt with space. Xu Yuling also referred to culture ecological value of public art. He recognized that city sculpture played an irreplaceable teaching function in the process of enhancing demos’ quality. Cai Zengjie emphasized that city sculpture should serve for the construction of the harmonious society. Zhang Xiaorui thought that ecological sculpture was a kind of means to cherish the nature.
Referred to ecological sculpture, some scholars put emphasis on epochal characteristic. Li Zheng explained epochal characteristic of ecological consciousness, approving creating sculpture by using materials reasonably and consciously. Yin Xiaofeng discussed time spirit showed in sculpture in his thesis Sculpture and Times Spirit. He said that we could see the development of sculpture as well as the course of human being’s civilization and the alternation of time spirit when we turned our eyes to the history of sculpture. Lin Zibo, Qiu Guopeng said in their thesis Comments on City Sculpture and Public Environment that city sculpture should adapt to time spirit and their characteristics of public, environment and aesthetics should be strengthened to create a living environment. Yan Xiaoqiong also emphasized that city sculpture should be harmony with development of times and culture. Han Lu introduced the development of “soft sculpture”in her thesis Material, Times and Environment. She pointed that it was important and meaningful to find“ecological”materials to make sculptures.
Ⅲ.Investigation about cases of ecological sculpture creation
Almost over half of Sculptors and theorists participating in the 12th“China Sculpture Forum”, have personally created or planned or presided over design and construction of the ecological sculpture. They have abundant practical experiences, therefore investigation on ecological sculpture creation seems very concrete, practical and cordial.
Pan Shaotang talked about two cases of urban sculpture which he had contacted recently, one was the succession in building up large-scale Xuan Yuan Emperor’s portrait after overcoming all kinds of difficulties in Qingshui county, Tianshuicity, Gansu Province, the other was that the design of “urban sculpture group of boulevards for sightseeing in downtown”was passed in Sanxiang town, Zhongshan city, Guangdong Province. Pan Shaotang said, the urban sculpture design in these two areas had definitely considered “social ecology”,“natural ecology”,“spiritual ecology”,and also the interaction relation of“social ecology”from development angle at the same time. These two sculpture cases were identical with“sculpture and ecology”，the theme of the 12th China Sculpture Forum. He also pointed out that, “from this theme to carry on planning and creation of urban sculpture, it seems that we have found a way to give the development of the urban sculpture new theoretical foundations.”
Bao Lin not only gave his own point on sculpture cultural ecology, but also made detailed demonstration and introduction about environmental planning and design of Three Gorges Dam and its surrounding areas. The design in which numerous courses and experts of Tsinghua University participated fully embodied ecological awareness and had been regarded as shaking hands again of“man and nature”.
Under the influence of Damon’s past-modern ecological view, with professional modeling ability and great enthusiasm to ecological art, Deng Le and Shen Yunqing created a series of running water sculpture, and then had built an ecological running water park.
Ye Chijian introduced landscape sculpture of Qi Jiang park in Zhongshan city and thought that these sculptures fully embodied the ecological principles.
Xue Junyou expressed the creating feelings of “Fengshan Sculpture”in“Urban Sculpture and Cultural Ecology”. Sculptors in the province and Xue Junyou planed“2000 Feng Shan Art Activity”together, carried out artistic transformation to a wounded mountain in the city of Jiaozuo. This is the “treatment” to the mountain, also the “cure” of contorted soul.
Dai Yun’s article Adding to Qianling Tomb 10 Tons of Plants introduced an ecological sculpture scheme: Using the tendril, flowers and other plants on both sides of Sima road to swathe, cover, imitate and fill the stone carvings such as the squat stone lions, pommel horses, auspicious beasts, cloud pillar, guest group, civil and military officials etc. These ecological sculptures would mostly adopt the method of“Repairing and leaking vacancy”, and use linguistic pattern of non-tightness and non-permanence to correspond with the immortal royal tomb art. Such sculptures could also dispel the greatly imperial authority narration by the scattered and fragmented shape of works (for example, supplements 61 guests’head with plants, and replenishes the absent part, like head, hand, foot and so on of the stone horse); and tease the imperial dignity through mocking imitation (for example to mold squats lion with plant).
Some sculptors didn’t confine their discussion to simple introductions of themselves and contemporary sculpture works, but investigated cases of others’ sculpture works. Hu Hanping introduced American female sculptor He Simei’s ecological sculptures which were made by bone, skin of insect, fish and reptile, etc. He thought that, the essential understanding about the relationship between human and animal life, and suffering consciousness to nature and life from ecological angle and ecological thinking made He Simei’s works different from others. In Si Kaiguo’s article Trying to Discuss Sculpture Diagrammatic’s Value of Nanjing Changjiang River Bridge, he made research on the Nanjing Changjiang River Bridge sculptures. He thought that Nanjing Changjiang River Bridge sculptures became red classics due to inheritance of achievements of urban sculpture in new China, and had cultural ecological meaning in special time. Shen Li’s article The Concept of Ecological Environment of Tomb Sculptures in Southern Dynasties combed the relationship between tomb sculptures of Southern Dynasties and general form of tomb caving and the surrounding environment. She also realized that Tomb Sculptures in Southern Dynasties demonstrates strong ecological consciousness that can irradiate the contemporary public landscape sculpture design.
Ⅳ.Personal Feelings to Sculpture Trade Ecology
Just like people living in this world, sculptures also grow in this world. Sculpture art is doomed to enjoy certain “order” and “location” in ecosystem of the earth too, and this “Sequence” is “the space of life and spirit” of art. It is not only that sculpture and the environment compose an organic ecosystem, but also the sculpture art itself is“a growing open system”.
It is well known that the design and construction of sculpture involvevarious and complex factors. Its planning and implementation need very strong capacity in coordination. While dealing with the interrelation between the leader, the public, artists and investors, the operation of sculpture art has its own procedure. Generally speaking, the reason thatsculpture art can be implemented smoothly due to the free system to a great extent.This is an “Optimization”to the operation system of sculpture art. And this kind of“optimization” is accommodation and harmonious with the system itself. The harmonious development of this system, more particularly, is the healthy development of the sculpture trade ecology in fact. Sculptors have something more to say about this.
Yang Wei’s article Return to the Village traced the historical process of artists’migration from Old Summer Palace to Songzhuang. In his opinion, the reason that artists’ returning to village was homesickness difficult to release, and dream of natural ecology in village. If the nature living conditions in village were changed, as to artists, it meant cutting off the source of the inspiration and thought retreat.
Tang Peiyong made a detailed investigation to Huian famous as “home of Chinese carving art” and “capital of Chinese stone carving”. His treatise named the Ecology of Carving Art in Huian combed historical evolution of Huian sculpture art, analyzed sculpture industry survey in Huian, discovered problems in Huian sculpture trade, and put forward some rational solutions and measures. He made an ecological report with detailed material, abundant content and penetrating analysis for the sculpture trade of Huian area.
In Sun Zhenhua’s treatise named Top Ten Focus Problems of Chinese Urban Sculpture, he put forward ten serious problems about the design, construction and management of contemporary urban sculpture. In fact, this is also investigation and thinking to sculpture trade ecology in China.
Xiao Xiaoqiu’s speech that made people felt real and true described the survival situation of local sculptors. In the perspective of a native sculptor’s cultural ecology, he analyzed sculptors’current survival situation in order to seek harmonious development and the co-existence way. It is well known that sculpture is “the heavy industry” in fine arts. Because the producing cycle is very long, it is quite difficult to creat a good works. If professors in this trade don’t support each other, it is very difficult to succeed for all of us. Finally, he appealed, the experts and leaders playing the role of sculptors’“mother” should help sculptors over the country, treat counterparts kindly, build a loose and harmonious academic environment in the field of sculpture, create a harmonious living space. He also hoped that the sculptors of the whole country make efforts to establish a big warm family.
The sculptors’personal feelings to sculpture trade ecology command great attention of Sculpture Committee of Chinese Arts and Crafts Institute, Chinese Sculpture Magazine and the editorial department of Almanac of Chinese Sculpture. They have initiated the activity about “First China sculpture Trade Ecology Investigation”. We can foresee that the report and result of China sculpture trade ecology investigation can provide valuable basis for decisions of functional department of the state, display positive factors and roots of problems to China sculpture development, show the survival situation of Chinese sculptors at different levels, and as a result navigate for the healthy development of the Chinese sculpture trade.
Until now,the“Chinese Sculpture Forum”has successfully conducted 12 sessions. It follows the development of the Chinese Sculpture magazine to move towards mature gradually, and becomes a cultural and artistic brand which has the deepest influence, the biggest scale, and the longest history in the sculpture field. It seeks the development and strives for the best in the unceasing exploration. The 12th China Sculpture Forum strides forward by this kind of enterprising posture. From descriptions and comments above, we understand its rich content and unique features. To put it briefly, the unique features of The 12th China Sculpture Forum generally manifested three aspects following: Firstly, the academic atmosphere is thick. The Chinese sculpture forum is not a pure academic forum but one aimed to seek high specification academic savors. Just like what Chen Peiyi said, the forum frequently unified the strategic scholarly research with the concrete questions or projects, and made effort to achieve the double wins of scholarly research and the solution of concrete questions. Just for this reason, comparing with other pure academic conferences, the Chinese sculpture forum appears sprightlier, and has even thicker atmosphere of the academic discussion. Secondly, the question consciousness is strong. In this forum, attending experts combined the subject with the inspection to public arts of Chengdu, discussed the pattern of public artistic operation, and carried on a special deliberation on The Standard Charge of Chinese City Sculpture Item design (draft). This kind of research that unifies the thesis of forum and the local problems or the current matters everybody concerns has become the outstanding tradition of the sculpture forum. Thirdly, the emotion exchange is deep. The annual sculpture forum is frequently the best place for the demonstration of works, the exchange of sentiment and information in the sculpture field. Sculptors from all places come here bringing experiences and thinking, like a get-together of new and old friends. In this forum, the sculptors not only discussed “Together but Different. Southwest Contemporary Sculpture Invitation Exhibition”, moreover mutually exchanged the creation experiences of recent years. Many young sculptors also put out their new work pictures to consult to the senior sculptors. I believe everyone won’t forget those fine images and scenes.
The 12th “Chinese Sculpture Forum” has completed. Theory discussion about“sculpture and ecology”will obviously continue. We believed that, the thought and wisdom of this forum will certainly blossoms and bears fruits in the following sculptural theory and practice; and the fine tradition formed by “Chinese Sculpture Forum” must be inherited and developed in the next forum certainly.