In late 2010, Mr. Sheng Yang, a celebrated sculptor known for his contributions to the field of sculpture, was honored with the 9th Modeling Performing Arts Achievement Award. Recently, during the second session of the China Art Association Sculpture Arts Committee, the reporter had the opportunity to interview Sheng Yang at the Academic Reporting Hall of the Central Academy of Fine Arts.
Born in Nanjing, Jiangsu Province in 1931, Sheng Yang is considered one of the first sculptors to grow up in post-1949 China. He carried forward the legacy of earlier generations who focused on realistic expression and public engagement. His works are deeply rooted in real-life experiences, using traditional techniques to capture the essence of human emotion and movement with clarity and precision. Notable pieces such as "Militia" and "Xu Teli Memorial Image" are housed in the National Art Museum of China, while others like "Confucius," "Qu Yuan," and "Rong Guanzhong" are displayed across the country.
From 1984 to 1985, Sheng Yang led the creation of the first large-scale sculpture park in China—the Shijingshan Sculpture Park. Featuring over 50 sculptures spread among pavilions, it blends natural beauty with artistic expression, setting a model for urban sculpture parks in cities like Hangzhou, Guilin, and Qingdao.
While ancient Chinese sculpture boasts remarkable achievements—from tomb sculptures like the "Horse Horse Huns" to temple statues and decorative camel figures—modern Chinese urban sculpture emerged later, influenced by Western styles during the process of modernization.
Sheng Yang noted that due to economic limitations, early urban sculpture struggled to gain traction. However, after the reform and opening-up, China’s urban sculpture experienced rapid growth, with notable works such as the Monument to the People’s Heroes and pieces by artists like Liu Kaiqu and Pan He. The establishment of the National Urban Sculpture Planning Group in 1982 marked a turning point, leading to the formation of sculpture committees in major cities.
Despite progress, challenges remain. Urban sculpture often faces coordination issues with city planning, architecture, and environment. Sheng Yang emphasized the need for more experience and research in this area.
With the rise of the market economy, sculpture has seen both opportunities and problems. While it has grown rapidly, some works lack quality, catering too much to Western tastes or commercial demands. Terms like “caijiao†(taking urban sculpture as a latte) have even become synonymous with poor-quality installations.
Sheng Yang urged a balanced approach: acknowledging the growing pains of development while striving for higher standards in both art and craftsmanship. He believed that artists must understand and engage with the public, creating works that resonate emotionally and culturally.
Inspired by Mao Zedong’s 1942 speech on literature and art, Sheng Yang stressed the importance of connecting with the public. Urban sculpture should not only reflect an artist’s style but also serve the community, considering the audience's aesthetic level and cultural background.
Over the past century, urban sculpture has evolved through challenges and transformations. Looking ahead, Sheng Yang envisions a future where sculpture explores deeper connections between humans, nature, psychology, history, and culture. It must move beyond traditional forms and embrace the complexities of modern urban life.
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