中国雕塑,一直伴随华夏文明的历史演进生长、繁荣,自成体系。一百年前,在西学东渐的大势下,中国引入了法国古典主义雕塑体系,创立了以此为主线的中国学院雕塑教育和创作系统;五十多年前,在向苏联学习的大潮中,新中国再次引入苏联雕塑教学体系;改革开放以来,中国雕塑逐步丰富艺术理念,积极与世界对接。经过近四十年的探求历程,传统与当代的关系,中国与世界的关系,逐渐开始更加明确了。对应近百年的沧桑与繁荣,社会的历史书写了艺术的历史,中国雕塑的现状是历史选择的结果。但如果我们将眼光放得更远,将眼光离开当前的世界,放远到一千年至一万年的时候,就会发现艺术形式虽然随着社会、文化的变动在不 Chinese sculpture has been accompanied by the history of Chinese civilization, growth, prosperity, self-contained system. Hundreds of years ago, under the general trend of Western learning, China introduced the French classical sculpture system and created the sculpture education and creation system of the Chinese Academy which took this as the main line. Fifty years ago, in the tide of learning from the Soviet Union , China once again introduced the Soviet sculpture teaching system; since the reform and opening up, Chinese sculpture gradually enriched the concept of art and actively connected with the world. After nearly forty years of quest for history, the relationship between tradition and contemporary times, the relations between China and the world have gradually begun to be clearer. Corresponding to nearly a century of vicissitudes and prosperity, the history of society has written the history of art. The status quo of Chinese sculpture is the result of historical choices. However, if we look farther away and look away from the current world and extend it from a thousand to ten thousand years, we will find that although the form of art is not changing with social and cultural changes,