Compared with literature, it can show the cultural spirit of our nation more intuitively and unabashedly. In this sense, the development history of China sculpture style is also an evolutionary history of national cultural spirit to a certain extent. In this way, people have found the connection point between sculpture style and national cultural spirit.

Hegel, a German aesthete, once divided the development of artistic style into three stages: first, strict style, insisting on objective and simple description; Secondly, the ideal style, which is generally the style in the mature, perfect and prosperous period of art development; Once again, it is a pleasant style, which is often the style of art decline. The purpose is to "please people" and pursue the beauty and carving of form. (Aesthetics, Volume III) Analyzing the development of China's sculpture style from Hegel's point of view, we find that it is generally consistent. If we start from the mature period of China sculpture-Qin and Han Dynasties, the sculpture in Qin and Han Dynasties is typical of severe style, the sculpture in Sui and Tang Dynasties is typical of ideal style, and the sculpture in Ming and Qing Dynasties is typical of pleasant style. As for the Wei, Jin, Southern and Northern Dynasties and the Five Dynasties Song Dynasty, they are the transitional styles from Qin and Han Dynasties to Sui and Tang Dynasties, and from Sui and Tang Dynasties to Ming and Qing Dynasties. Artistic style can be summarized differently at different levels. In order to explore the relationship between the evolution of artistic style and national cultural spirit, this paper tries to grasp the development of China sculpture from China's traditional theory of Yin and Yang beauty style. Cao Pi in Dian Lun? The article said: "The text is dominated by qi, and the qi is clear and turbid." The clarity here refers to the handsome and superior masculinity, and the turbidity refers to the dignified and gloomy femininity. Later, in Wen Xin Diao Long, Liu Xie said "gas is rigid and soft" and "funny is rigid and soft". Shen Yue's theory of "combining rigidity with softness, distinguishing love from hatred" in Song Shu is in the same strain. Yao Lai, a famous ancient prose writer in Qing Dynasty, clearly put forward the stylistic theories of "masculine beauty" and "feminine beauty". The sculpture style in Qin and Han dynasties is severe and masculine. On the whole, the figurines, horses and stone carvings in front of the tombs of the Qin and Han Dynasties may not be as delicate as those of later generations, but they are clumsy and rough. However, it is this "objectivity and simplicity" that has become a symbol of the cultural spirit of Qin and Han Dynasties.

The cultural spirit of Qin and Han dynasties is the continuation of the spirit of self-improvement and struggle in the pre-Qin period. It is said that Qin Shihuang visited Hengshan Mountain in the south and encountered a strong wind when he sailed to Xiangshan. Qin Shihuang was furious and made 3,000 prisoners grow into Guangshan, showing the power of the emperor to the gods in Hunan. Qin Shihuang's spirit of defying destiny and daring to challenge the gods is the ideological basis of the majestic Great Wall of Wan Li, Epang Palace, the Twelve Golden Bronzes and the original statue of Luxemburg, that is, the spirit to be expressed by the neatly arranged and magnificent figurines and horses of the Qin Mausoleum.

Han Gaozu's heroic poem "There is a strong wind in the clouds" shows that the cultural spirit of the Han Dynasty is marching in this radical and sonorous tone. At the beginning of the Han Dynasty, the so-called "learning from Huang Lao" was popular. However, this idea of nurturing daughters with tenderness was not the real intention of the rulers of the Han Dynasty, but an expedient measure to adapt to the situation at that time. "Doing nothing" is a strategy to achieve great success. At the beginning of Emperor Wu of the Han Dynasty, he was full-fledged and powerful, so he fought against Xiongnu and communicated with the western regions, creating immortal achievements.

The cultural spirit and sculpture style of Qin and Han dynasties reached a high degree of harmony, and they complemented each other. Sculpture art shows the era of conquering nature, conquering the material world, opening up space and occupying space with appropriate strength, momentum and volume. This kind of harmony has never appeared in the history of China.

The cultural spirit of Qin and Han Dynasties is enterprising, vigorous and promising. This spirit is also the embodiment of the thought of "Heaven is powerful, gentlemen strive for self-improvement" in Zhouyi and "controlling destiny and using it" in Xunzi. The sculpture style in Qin and Han dynasties is not accidental, but a vivid portrayal of the tenacious vitality and strong desire to explore and conquer of the Chinese nation in this period. It inherits the lofty spirit of attaching importance to manpower and fighting against nature shown by the Chinese nation since ancient times. There is a popular saying that the western nation pays attention to the conquest and transformation of nature, while the Chinese nation shows its adaptation and integration with nature. This statement may be applicable to some times, but at least it is not applicable to the Chinese nation in the pre-Qin, Qin and Han dynasties. If we trace back to the masculinity in the cultural spirit of the Qin and Han Dynasties, we will find that as early as in ancient myths, the cultural spirit of our nation's early struggle against nature was magnificent, such as "Seizing the sea with a fine guard", "Goddess mending the sky", "Kuafu chasing the sun", "Yugong moving mountains", "Houyi shooting at the sun" and "* * * workers are angry beyond the surrounding mountains". Sculpture in Wei, Jin, Southern and Northern Dynasties was divided into two styles from the unified masculine beauty style in Qin and Han Dynasties. Geographically, these two styles can be divided into southern style and northern style, and their cultural connotations are feminine and masculine style, which is manifested in the difference between "showing bones and clear faces" and "showing men's faces" in the most important Buddhist sculptures at that time. Exploring the reasons for the split style in this period is also bound to be related to the changes in the cultural spirit of the Chinese nation in this period.

In this context, the original vigorous and promising spirit of the Chinese nation was weakened in the Southern Dynasties, and it appeared more feminine than vigorous. Yan Zhitui said in "Yan Family Instructions" that in the Southern Dynasties, the scholar-officials painted rouge with powder and smoked clothes with spices, and the meat was soft and crisp. Hou Jing, in a crisis, held Luo Qi and Jin Yu, and lay down on the bed to die. When the county magistrate saw the donkey, he was frightened and said it was a tiger, which was different from the historical records. What a sharp contrast between the heroic and vigorous images of Confucian scholars in Qin and Han Dynasties in The Legend of the Ranger!

From an artistic point of view, the style of "showing bones and clearing faces" in sculpture in this period is not without positive significance. It means the richness of national perceptual psychology. In form, it is more delicate than the previous generation sculpture, which is also an inevitable stage of artistic development. It is precisely because of the differentiation in style that the foundation is laid for the formation of a new unified style of China sculpture in the next stage. In fact, it is not limited to sculpture. There were two different cultural styles in the Northern and Southern Dynasties. Buddhists tell the difference between northern and southern Buddhism; Scholars have noticed the differences between southerners and northerners in style of study and learning methods; literature

Historians talk about the different styles of folk songs in the Southern and Northern Dynasties. Calligraphers have noticed the different styles of calligraphy in the north and the south ... Generally speaking, the style in the south is graceful, delicate and beautiful. The northern style is generally heroic, rough and magnificent; The so-called "iron horse autumn wind in northern Hebei, apricot blossom spring rain in southern Jiangsu" is a portrayal of these two styles.

This is a turbulent time. After the collapse of the Western Jin Dynasty, China confronted the North and the South. In the north, China became a place where nomadic tribes fought and scuffled, while in the south, China established a dynasty in which aristocratic bureaucrats who fled to the south favored the south. A large number of literati with high academic and practical knowledge and extensive historical knowledge avoided the Jiangnan rebellion and played an important role in the culture of the Southern Dynasties. Metaphysics in Wei and Jin Dynasties had a great influence on the Southern Dynasties. If people in the Qin and Han Dynasties showed the cultural spirit of impassioned, striving for strength and making a difference, then in the Southern Dynasties, it was popular to let nature take its course, hide its ears and steal the bell, despise ethical codes, advocate emptiness and inaction, and talk empty about metaphysics. It is worth noting that Zhuangzi's philosophy did not show much influence in Qin and Han Dynasties, which was characterized by conquering the external environment, developing production and attaching importance to secular life, but it received special attention in Wei, Jin, Southern and Northern Dynasties.

The development of history is often full of drama. It stands to reason that the Southern Dynasties were regarded as China's orthodoxy in terms of academics, literature and art, and the system of laws and regulations. In addition, the prosperity of rites and music and the rich benefits of forest products are unmatched by the Northern Dynasties. The rulers of the Sixteen Kingdoms and the Northern Dynasties themselves dare not pretend to be China orthodoxy. Supposedly, China should be unified by the Southern Dynasties rather than the Northern Dynasties. However, the result is just the opposite. The brave and powerful Northern Dynasties finally conquered the Southern Dynasties and unified China, which should be thought-provoking.