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不同时期人物雕像的差异
不同时期人物雕像的差异
The difference of figure statues in different periods
1、秦汉时期中西方人物雕塑差异，直接原因当然是中西审美观的不同。中国的审美观强调的是一种集体之美。不论秦始皇兵马俑还是汉俑，展现的都是强大阵列的威严、庄重之美。这种美是在众多的人俑的排列、组合、相互联系当中显现出来的。而古希腊罗马的雕塑强调的是个人所展示出来的美。例如创作于前19年的罗马皇帝奥古斯都的雕像：目光炯炯，好像看到了光明的前景；右手举起，仿佛指挥着自己的军队；左手持矛，似乎时刻准备着武力征服；胜利之神在他脚下，给予他无尽的力量。即使是群体像，希腊和罗马人也不希望在整体中展现美。再如帕加马祭坛上表现宙斯和雅典娜与举人战斗的浮雕，一共有几十个人物，但作者主要想表现的是宙斯和雅典娜，所以刻意地表现这两个主人公，使之在整个浮雕中占支配地位。这种情况在秦始皇兵马俑和汉俑中是找不到的。
1, the difference between Chinese and Western sculptures in Qin and Han Dynasties is due directly to the differences between Chinese and Western aesthetics. Chinese aesthetics emphasizes a collective beauty. Regardless of the Qin Shihuang Terracotta Army or the Han figurines, they display the majesty and solemn beauty of the powerful array. This beauty is manifested in the arrangement, combination and interrelation of many terracotta figures. The sculptures of ancient Greece and Rome emphasize the beauty shown by individuals. For example, the statue of emperor Augustus of Rome, created in the first 19 years, was bright and bright, as if he had seen a bright future; his right hand lifted, as if he commanded his own army; he held a spear in his left hand, and seemed to be prepared for the conquest of force; the God of victory gave him endless power under his feet. Even in group images, the Greek and Romans do not want to show beauty in the whole. The embossing of Jose and Athena on the altar of pagema has dozens of characters, but the author mainly wants to show Jose and Athena, so the two protagonists are deliberately shown to dominate the entire relief. This situation can not be found in Qin Shihuang's Terracotta Army and Han figurines.
2、另外，西方的审美观强调直白、明晰、奔放；而中国则强调委婉、内敛、保守。比如在西方的雕塑中，男子和女子多为半裸或全裸的姿态，给人一种强大的视觉冲击力。这是因为希腊罗马人欣赏人类魁梧、圆润的体格，“希腊大师们则把这种不松弛、没有多余脂肪的造型赋予他们的雕像。”但是，这在中国的雕塑中是绝对找不到的。这并不是说明中国的雕塑家不重视人体之美——我们也是非常重视的——只是表现的方式有不同。例如，秦始皇兵马俑的士兵在盔甲覆盖之下的肌肉非常饱满，使人联想到他们孔武有力的体格。但是和西方直观就可以感觉的效果不同，中国的雕塑家希望间接、婉转地去表达这种美，希望观众去联想、去感受。
2, in addition, western aesthetics emphasizes straightforward, clear and bold, while China emphasizes euphemism, introvertion and conservatism. For example, in Western sculpture, men and women are mostly semi naked or nude, giving people a strong visual impact. This is because the Greek Romans appreciate the burly and rounded human body, "the Greek masters have given them the statues of this unflabby, unnecessary fat." But this is absolutely impossible to find in Chinese sculpture. This is not to say that Chinese sculptors do not attach importance to the beauty of human body. For example, the soldiers in the Terracotta Army of Qin Shihuang are very full of muscles under the armor, which reminds them of their strong physique. But it is different from the Western intuition. Chinese sculptors want to express this beauty in an indirect and gentle way, and hope the audience to associate and feel.
The difference of figure statues in different periods
1、秦汉时期中西方人物雕塑差异，直接原因当然是中西审美观的不同。中国的审美观强调的是一种集体之美。不论秦始皇兵马俑还是汉俑，展现的都是强大阵列的威严、庄重之美。这种美是在众多的人俑的排列、组合、相互联系当中显现出来的。而古希腊罗马的雕塑强调的是个人所展示出来的美。例如创作于前19年的罗马皇帝奥古斯都的雕像：目光炯炯，好像看到了光明的前景；右手举起，仿佛指挥着自己的军队；左手持矛，似乎时刻准备着武力征服；胜利之神在他脚下，给予他无尽的力量。即使是群体像，希腊和罗马人也不希望在整体中展现美。再如帕加马祭坛上表现宙斯和雅典娜与举人战斗的浮雕，一共有几十个人物，但作者主要想表现的是宙斯和雅典娜，所以刻意地表现这两个主人公，使之在整个浮雕中占支配地位。这种情况在秦始皇兵马俑和汉俑中是找不到的。
1, the difference between Chinese and Western sculptures in Qin and Han Dynasties is due directly to the differences between Chinese and Western aesthetics. Chinese aesthetics emphasizes a collective beauty. Regardless of the Qin Shihuang Terracotta Army or the Han figurines, they display the majesty and solemn beauty of the powerful array. This beauty is manifested in the arrangement, combination and interrelation of many terracotta figures. The sculptures of ancient Greece and Rome emphasize the beauty shown by individuals. For example, the statue of emperor Augustus of Rome, created in the first 19 years, was bright and bright, as if he had seen a bright future; his right hand lifted, as if he commanded his own army; he held a spear in his left hand, and seemed to be prepared for the conquest of force; the God of victory gave him endless power under his feet. Even in group images, the Greek and Romans do not want to show beauty in the whole. The embossing of Jose and Athena on the altar of pagema has dozens of characters, but the author mainly wants to show Jose and Athena, so the two protagonists are deliberately shown to dominate the entire relief. This situation can not be found in Qin Shihuang's Terracotta Army and Han figurines.
2、另外，西方的审美观强调直白、明晰、奔放；而中国则强调委婉、内敛、保守。比如在西方的雕塑中，男子和女子多为半裸或全裸的姿态，给人一种强大的视觉冲击力。这是因为希腊罗马人欣赏人类魁梧、圆润的体格，“希腊大师们则把这种不松弛、没有多余脂肪的造型赋予他们的雕像。”但是，这在中国的雕塑中是绝对找不到的。这并不是说明中国的雕塑家不重视人体之美——我们也是非常重视的——只是表现的方式有不同。例如，秦始皇兵马俑的士兵在盔甲覆盖之下的肌肉非常饱满，使人联想到他们孔武有力的体格。但是和西方直观就可以感觉的效果不同，中国的雕塑家希望间接、婉转地去表达这种美，希望观众去联想、去感受。
2, in addition, western aesthetics emphasizes straightforward, clear and bold, while China emphasizes euphemism, introvertion and conservatism. For example, in Western sculpture, men and women are mostly semi naked or nude, giving people a strong visual impact. This is because the Greek Romans appreciate the burly and rounded human body, "the Greek masters have given them the statues of this unflabby, unnecessary fat." But this is absolutely impossible to find in Chinese sculpture. This is not to say that Chinese sculptors do not attach importance to the beauty of human body. For example, the soldiers in the Terracotta Army of Qin Shihuang are very full of muscles under the armor, which reminds them of their strong physique. But it is different from the Western intuition. Chinese sculptors want to express this beauty in an indirect and gentle way, and hope the audience to associate and feel.
