In late 2010, Mr. Sheng Yang, a celebrated sculptor known for his contributions to the art world, 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 meet 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 the People's Republic of China. He carried forward the tradition of earlier generations, focusing on realistic representation and public engagement. His works often draw from real-life experiences, using traditional techniques to capture the essence of human expression and movement with clarity and precision. Among his most notable pieces are "Militia" and the "Xu Teli Memorial Image," both housed in the National Art Museum of China. Other works such as "Confucius," "Qu Yuan," and "Rong Guanzhong" are displayed across the country, reflecting his widespread influence.
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 future sculpture parks in cities like Hangzhou, Guilin, and Qingdao. His work laid the foundation for the development of urban sculpture in modern China.
Chinese sculpture has a rich history, from tomb figures like the "Horse Horse Huns" near Huo Qubing’s tomb, to the grottoes and temple statues that represent ancient craftsmanship. However, modern urban sculpture in China began 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. But after the reform and opening-up, the field experienced rapid growth. Notable works include the Monument to the People’s Heroes, "Cai Yuanpei" by Liu Kaiqu, and "The Waste Cow" by Pan He. In 1982, the National Urban Sculpture Planning Group was established, followed by similar organizations in major cities, marking a new era for Chinese urban sculpture.
Despite progress, challenges remain. Sheng Yang pointed out that urban sculpture must integrate with city planning, architecture, and the environment, but there are still many coordination issues. Experience is limited, and much learning is needed.
Since the late 1980s, the market has also entered the art scene. While this has brought more resources and growth, it has also led to problems such as superficial aesthetics, low-quality works, and unqualified artists. Some have even called urban sculpture “a latte,†implying it lacks depth.
Sheng Yang believes the key is to balance quality and market demands. Artists must improve their skills and raise public standards to achieve mutual growth. He emphasized the importance of understanding and guiding the public, rather than simply catering to them.
Inspired by Mao Zedong’s 1942 speech on literature and art, Sheng Yang stressed that urban sculpture should be accessible and meaningful to the people. It must reflect both the artist’s vision and the public’s emotional connection.
Looking ahead, Sheng Yang envisions a future where urban sculpture explores deeper relationships—between art, nature, psychology, culture, and history. The goal is not just to decorate cities, but to enrich the human experience through thoughtful, meaningful art.
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