说教和煽情作为雕塑功能的两种主要形式,两者辩证统一。它们往往应一定时期社会背景,基本国情的变化而变化。一般来说,在一个社会的上升时期或宗教信仰极盛时期;“说教”居多;繁荣时期或信仰自由时期,“煽情”居多。 进入二十世纪,整个世界艺术大环境呈现多元化,在西方,人性解放、欲望膨胀,各种艺术不断解构、重构。海德格尔《对现代技术的哲学追问》彻底瓦解了“说教”的层层壁垒。现代雕塑以令人惊讶的新观念、新形式、新材料、新技巧重塑了被传统占领几千年的雕塑领地。雕塑家已不满足于如实地表现自然界的存在物,开始探索属于欣赏美学范畴的形体比例与节奏、旋律,地面形状与色彩搭配,材料特性与质感等方面的关系。正如美国当代一位著名雕塑家所说:“我的作品就是要最大限度地把人们 Preaching and sensationalism as the two main forms of sculpture function, the dialectical unity. They often change in a certain period of social background, basic national conditions and changes. Generally speaking, in a social ascent or an exuberant period of religious belief, “preaching” is predominant; in the period of prosperity or freedom of belief, “sensationalism” is predominant. Into the twentieth century, the entire world art environment diversified, in the West, liberation of human nature, the desire to inflate, all kinds of arts continue to deconstruction, reconstruction. Heidegger’s “philosophical inquiry into modern technology” completely dismantled the layers of barriers to “preaching.” Modern sculpture reshaped sculpture territory traditionally occupied for thousands of years with astonishing new ideas, new forms, new materials and new techniques. Sculptors are no longer content to faithfully represent the existence of nature, and begin to explore the relationship between the proportions and rhythms of melodies, the shapes and colors of floors, the characteristics of materials and the texture of aesthetic appreciation. As one well-known contemporary American sculptor put it: "My work is to maximize the people