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踏入20世纪,中国的、传统的、民族的雕塑艺术已经处在青黄不接极度衰退的时期,城市雕塑近乎空白,甚至被遗忘,完全失去了社会基础。以至一百年来全国只有二三十座城雕,而且在建国前有一半是委托国外建造的。这与有着数千年文化历史的堂堂大国毫不相称!许多人都认为我们这一代雕塑家生不逢时,倒霉透顶。但是,我不是这样看,是祸是福还应站在历史的高度才能衡量清楚。正因为空白才需要填补;正因为失去社会基础才需要重建;正因为衰退我们才会立志以雕塑复兴为已任;正因为不为社会认识我们才有机
Into the 20th century, China, the traditional, national sculpture art is already in the era of lackluster decline, urban sculpture is almost blank, or even forgotten, completely lost their social foundation. As long as one hundred and twenty years there are only twenty or thirty carvings in the country, and half of them were commissioned by foreign countries before the founding of the People’s Republic. This is not commensurate with the great power of thousands of years of cultural history. Many people think that this generation of sculptors is unlucky and unlucky. However, I do not think so. It is good or bad that we should stand clear of historical heights. It is precisely because the gap needs to be filled; it is because of the loss of social foundation that reconstruction is needed; because of the recession we are determined to take the rejuvenation of the sculpture as our own responsibility;