5. The concise language of China ancient sculptures is another artistic feature derived from images. China ancient sculpture never invented the modeling of western sculpture to accurately shape objects, but based on feelings and understanding, it used economic language like Chinese painting, which was concise and lively, winning more with less, thought-provoking, and often gave people artistic enjoyment. Exaggeration or even deformation to emphasize the charm of people and animals is a widely used technique, and the Sichuan rap figurines and stone beasts in Huo Qubing's tomb in Han Dynasty are the most representative. These works only obey the author's feeling and understanding of objects. What they care about is not the exact proportion and the real effect, but the expression of the dancers' dance and the different habits and exuberance of animals such as tigers, elephants, horses, cows and wild boars. This must be a trade-off, exaggerated or even abstract, the effect is more prominent, more artistic and more impressive. This is similar to western modern sculpture. Western modern sculpture, contrary to traditional realism, pursues the variability of sculpture language and the freedom of sculpture space, and is not enslaved by objective images, making artistic creation more pure. In fact, China ancient sculpture has reached the artistic realm of the variability of sculpture language and the freedom of sculpture space. The stone beast in Huo Qubing's tomb adopts the technique of "picturing according to the situation", and makes full use of the natural shape of rock that reminds people of animals, and only carries out minimal artistic processing, so that the shape of the stone beast shows the freedom of space, rather than haggling over the shape. Processing languages include round carving, relief carving and line carving, which change according to the dual needs of rock modeling and animal image. This language of circle, float and line carving can be seen in pottery figurines, stone beasts and Buddha statues in the Han and Tang Dynasties. They make China's sculptures more exquisite, so sometimes they have a sense of sculpture and even architecture. For example, sitting in the open air in Yungang Northern Wei Dynasty, and the giant Buddha in Tang Dynasty in Fengxian Temple in Longmen are outstanding representatives.
6. Since China's ancient sculpture is an image, it pays attention to "vivid with form", and it must also pay attention to the description of the head, just like China's painting. The ancients in China believed that "leaders are shrewd masters". (Huang Di Su Wen) "The head, where God lives, is as round as the sky." From the primitive times, the craft decoration paid special attention to people's face or head, which should be one of the reasons why the ancient plastic arts in China developed to pay special attention to vividness. This concern has run through thousands of years. Until today, in folk sculptures and peasant paintings, the head is still the first part of the artist's performance. Parts of the human body other than the head are considered subordinate and unimportant. In this way, in China ancient sculpture and painting, big head and small body gradually became a habit. If the relationship between the head and the body is not handled well, it will inevitably lead to uncomfortable visual characteristics, which is unnecessary for the ancients to hide. However, excellent works often shift people's attention from attracting short boards to depicting wonderful avatars. These heads don't look as deep as western sculptures, but the structure is very strict. Anyone who has made sculptures knows that it is easy to copy western sculptures, but it is quite difficult to copy the heads of ancient sculptures in China. They are not as precise and distinct as western sculpture structures, but they have another kind of perfection, and it is difficult to copy them to that state. In addition to the head, rhythmic body lines are used to exert aesthetic feeling, and it is not the accurate skill of proportional structure that infects people, but the vivid beautification. The giant Buddha, the Buddha-worshipping statue and the Lux statue in Fengxian Temple in Longmen are all serious, but they are still beautiful, which is a typical illustration of this feature of ancient Chinese sculpture.
7. The theme of China's ancient poems is "gentle and honest", which is closely related to the temperament, living conditions, geographical environment, philosophy, ethics and other cultural factors of the Chinese nation. Another kind of art is also pursuing this point, which is manifested in the implicit beauty and inner beauty in plastic arts. Sculpture, too, China ancient sculpture gives people the feeling that it is not as clear and vivid as western classical sculpture, but it has no head and its meaning is still unfinished. There is no nervous, outward anger, but like China's book brush hidden front, wrapped strength in it, giving people more aftertaste. For example, the Terracotta Warriors and Horses in Qin Shihuang's Mausoleum, the female figurines singing and dancing in Han and Tang Dynasties, the mighty king Lux in Tang Dynasty, and even the powerful evil spirits in the Northern and Southern Dynasties and the stone lions in Tang Dynasty all have this effect. By comparing the tension and generation of the discus thrower's strength with the violent catharsis of laocoon's emotions, we can understand the aesthetic characteristics of China's ancient sculptures. It is consistent with the aesthetic ideal of other ancient arts in China, just as the aesthetic ideal of western sculpture and painting is also consistent. When you appreciate China sculpture, you may feel that it is not as smooth as western sculpture, just like drinking tea and coffee. Drinking tea requires taste. If you are not familiar with the tea ceremony, you will never enter the realm of tea.