雕塑是一个具有几千年历史的艺术门类,它与色彩的关系由古典雕塑“拒绝色彩”的状态发展到当代雕塑“色彩泛滥”的情形。当下,雕塑概念被拓展,雕塑边界被消解,色彩与雕塑的关系就更加扑朔迷离。当雕塑以三维实体性的面貌呈现,只要能被视觉感知,就必然存在具有某种属性的色彩。研究雕塑,尤其是研究以雕塑本体语言为核心内容的雕塑类型,就更不能忽视对色彩的研究。事实上,这两者关系非常密切。色彩对雕塑本体语言具有较强的破坏性与建设性的作用。把握两者关系,让色彩以绘画的方式参与到雕塑的三维空间中来,成为雕塑语言的新词汇。 Sculpture is a kind of art with thousands of years of history. Its relationship with color developed from the state of classical sculpture “Refuse Color” to the contemporary sculpture “Flooding”. At present, the concept of sculpture is expanded, the boundary of sculpture is eliminated and the relationship between color and sculpture is more complicated and confusing. When the sculpture is presented in a three-dimensional entity, as long as it can be visually perceived, there must be a certain attribute of color. The study of sculpture, especially the study of sculptural forms that focus on sculptural ontology language, can not even ignore the study of color. In fact, the relationship between the two is very close. Color has a strong destructive and constructive effect on sculpture ontology language. Grasp the relationship between the two, so that color painting way to participate in the three-dimensional sculpture to come to become a new vocabulary of sculpture language.