A contemporary sculpture in bronze

Fu in the hope that the use of traditional Chinese architecture tenon joint structure to create bronze sculpture form. Their bronze sculpture, despite the early nineties the impact of conceptual art, but not solely as a art of the seventies for the imitation of the West. Concepts and devices is that they actually form a surface layer of the avant-garde practice, but the real core shell lies in the language of the pursuit of the Chinese. Among the rich and colorful patterns on the bronze sculpture statue of China, especially taotie motif became the mainstream of that period. Shell of the Chinese language, to the mid-1990s as part of those who want to re-select the language by focusing on the direction of the young artists to explore the field. Of course, this is not only a contemporary sculpture in bronze, in painting, installation, video and other aspects of the experimental art has a similar tendency.
At this time, the 1980s have been gradually reflect the new art movement, which is considered its Achilles heel is too direct copying of modern Western art forms and concepts of language shell. Existing language in the use of shell completion of the West in the 1980s anti-establishment artistic goal, the language of contemporary art began brewing in China on the back of the level. Their heads are transformed to decorative patterns on the bronze statue. This includes the conversion of traditional media, and the use of Chinese language as a sculptural composition of the structure model. This is actually an attempt to plant ideas into the structure of China, or to replace traditional forms of modern media, bronze sculpture, and ultimately the dual nature of the contemporary and the characteristics of Chinese contemporary art language.
1996, for the language and form of the concept of the scope of practice to continue to expand to other areas, the transformation of the traditional language of contemporary art forms, such as the outlook for the Chinese garden rockery stone prototype, through the replacement of modern industrial materials, the traditional image into a modern aesthetic experience, and the weakening its visually symbolic. The aesthetic charm of chinese bronze more lies in its profound meaning. This is actually just an academic lag experiment, this practice should have been done half a century ago. Although the language is a necessary test of the remedial process, but is primarily a form of experiment, but stressed the local aspects of language, but modern and has a significant lack of subjectivity. Subsequently, part of the sculptor began to shift from the cultural revolution in the visual language of contemporary art form of the transformation. This main objective is to establish the contemporary language of subjectivity and modernity.
For the Chinese language in the form of stress, in fact, around the mid-1990s post-colonial culture in the context of international art of thinking, the main core of the problem is the language of identity. The social status and role of china bronze in the Shang and Zhou matter a lot and get access to the social production on the whole as well as all areas of life. Transformation of the traditional language of thinking of language as a major response, followed soon extended to the cultural revolution, the transformation of visual forms, such as Sui tunic of the transformation of the visual language of the prototype, trying to return to the modern home to find the history of modernity and self-form, but also in the spirit of the modern ideology of levels of analysis to establish the visual style.