Appreciation of Foreign Sculptures (2)

1. Miron's discus thrower

Miron was an outstanding sculptor of ancient Greece from the 5th century BC to the 4th century BC. His main activity was in the middle of the 5th century BC. Milon's outstanding contribution is that he finally made Greek sculpture break away from the primitive style and establish the classical style. His works mainly include various gods and human figures. In addition, he is also good at making animal sculptures. Unfortunately, none of his original works have been preserved, and now we can only see a few Roman copies of his works. His most famous work is The discus thrower.

The work "discus thrower" shows the discus thrower. In the course of the movement, Miron chose a turning moment: the athletes swung their arms and quickly rotated their bodies for throwing. His physical exercise has reached the limit, and he will throw the discus in the next moment. The moment Miron seized summed up the whole process of the discus throw and showed the most typical posture of the athlete. The most powerful demonstration of athletes' muscle fitness and strength. The discus thrower's arms open like a full bow, which strengthens the audience's association that the discus is about to be thrown at full speed; The discus and the two circles of the athlete's head echo from left to right, and the right leg supporting the body is like an axis, so as to maintain the balance of the greatly arched body. Such conceptual design shows the artistic ingenuity of Miron. This is a very difficult action to handle. Miron's ability to achieve such perfection in conception and shaping shows his extreme familiarity with human body structure knowledge and superb sculpture skills.

2. Michelangelo and "Mourning Christ" and other works

Michelangelo (1475-1564) was the greatest sculptor in Italy during the Renaissance. The marble statue "Mourning Christ" was created by him in 1498-1501. This sculpture shows that the Virgin mourns the suffering Christ. The Virgin is quiet, elegant and kind. She looks up at her son resting on her knee with a depressed and sad eyes. The composition of the sculpture is pyramidal, and the effect is simple and stable. In order to refute the false statements of skeptics, Michelangelo engraved his name on the shoulder strap of the Virgin for the first and last time: "Michelangelo of Florence".

Michelangelo created the statue of David for his hometown Florence in 1501-1504, which became the symbol of the Renaissance heroes. It is also a summary of the artistic style of the Renaissance. The raw material of "David" is a six-meter-high galactic boulder that has been idle for 80 years. Many sculptors once wanted to carve it into a giant statue, but later they gave up. Michelangelo bravely assumed this important task. It took less than 2 years to complete this masterpiece. Before Michelangelo, Donatello and Verrochio had created sculptures with the same theme. They all portrayed David as a teenager, and chose the moment of rest after David defeated the giant to perform. Michelangelo's conception and design of this subject is different from his predecessors. He portrayed David as a muscular and well-proportioned young hero, focusing on his vision of searching for the enemy in the distance of the horizon before the fierce battle. Although the muscles of his body and face are still, there is an internal sense of tension and strength. David is one of the most outstanding male nude sculptures in the history of western sculpture. This sculpture also made Michelangelo the greatest sculptor at the age of 29.

While creating "David", Michelangelo also created "The Virgin and the Child" for Rodor Dame Church. Completed sculptures such as St. Mark for Florence Cathedral. After the death of Pope Juno II, the Protestant Emperor Leo X asked Michelangelo to design the tomb for Juno II, which took more than ten years. "Moses", "Bound Slave" and "Dying Slave" are three outstanding sculptures created by Michelangelo for this tomb. His masterpiece Moses, 2.55 meters high, is the most important statue in the whole tomb According to the Bible, Moses was the leader and national hero of the Jews. He led 600000 Jews to get rid of the cruel rule of the Pharaoh of Egypt. Seeking freedom, leaving Egypt and establishing his own country, he also formulated ten commandments for Jews. Carved on the "Dharma plate" made of stone, this is the "Ten Commandments of Moses". Michelangelo portrayed the legendary ancient hero as a hero full of wisdom, unshakable willpower, high moral standing and magnificent physique. The moment that Michelangelo captured was the moment when Moses saw that the Jews he taught violated the precepts he formulated and still followed the Egyptian habit of worshipping gold, and was extremely indignant. He was about to jump up from his seat and drop the commandment plate in his hand to the ground. The image of Moses has a strong shock. He is an old man with a strong physique, with two horns of different height on his head - this is the sign of "divine light". The beard is low to the waist, the broad robe wraps around his strong body, the thick arm is exposed to the outside, the joints are thick, the blood vessels are swollen, his blue and prominent hands, tightly stroked the long beard, and the blood seems to flow rapidly in his body. This far-sighted old man with strict rewards and punishment, because his face was full of anger and seemed to be a little scary, but his face contained irresistible enthusiasm and resolute willpower, which made people deeply feel his superhuman temperament and infinite power.

3. Lu De and Marseillaise

Rude (1784-1855) is a French romantic sculptor. Lu De was born in a forge workshop owner's family. When he was young, he worked in his father's satin workshop while studying sculpture at his hometown Tijo Art School. During this period, he was involved in the work of the cast iron workers, and was moved by their warm emotions. This period of life and work was consciously or unconsciously written into Lu De's works, and displayed in the great and immortal sculptures that were successfully made later.

In his youth, Lude came to the studio of Pierre Carterie, a famous sculptor in Paris, to study and gain creative nourishment here. He won the Rome Prize twice, but failed to study in Italy due to lack of money. During the French Empire, Lude worked with Napoleon for a period of time because of his worship of Napoleon. After the restoration of the Bourbon dynasty, he had to flee to Belgium. After 12 years of exile, Lude returned to France. He exhibited the plaster statue "The Young Fisherman of Napoli" in the sculpture art salon from 1830 to 1831. Two years later, he completed the marble statue of the work. This work, with novel themes and originality, is one of Lu De's original romantic masterpieces.

Lude's most important representative work, the high relief Marseillaise on the Arc de Triomphe in the French Star Plaza, was originally a group of reliefs that Lude was ordered to sculpture on the Arc de Triomphe with the theme of Napoleon's triumph from Egypt. He pondered and devoted himself to the creative idea of the work. At first, he realized four schematic plans: "Departure", "Return", "Defend the Land", and "Peace". For various reasons, he could not achieve all of them. He only produced a sculpture "Departure", and the other three were completed by other sculptors. The result was different styles and fragmented. Lu De was extremely dissatisfied with this, and in a fit of anger replaced the name "Departure" with "Marseillaise". His famous relief "Marseille" is an epic work eulogizing the French Revolution, and is an unparalleled monument. Its majestic momentum has long been impressive. With his extraordinary imagination and artistic conception, Lude turned a stone wall into a heroic epic fantasy and woven it into a huge flame-like artistic conception. The Marseillaise was placed on the Grand Arc de Triomphe in the French Star Square, which is an immortal symbol of the love of peace and freedom of the French people.

The artistic conception of Marseillaise is simple and grand. Although there are not many characters, there are only six volunteers and the allegorical goddess. Its content is to show that under the guidance of the Goddess, the volunteer army is not afraid of difficulties and dangers, and is not afraid of death to go to the front line to defend the country; Its artistic composition is also ingenious: the artist skillfully uses the technique of association and echo, the characters are half hidden from each other, and all the characters in the picture are arranged into a complex structure. Moreover, the exaggerated actions of each character contain reality, vivid posture, clear and precise structure, good and not disordered. Because the characters are interlaced with each other, the whole character team seems to be moving, like an unstoppable flood; The sculpture came to the audience from the flat wall, giving people a sense of rising; The details of all the props in the sculpture, such as the eagle on the head of the spear, the angry and hissing horse head, the lion claw on the chest of the soldier, the lion three-dimensional pattern on the shield, and so on, are integrated with the characters, increasing the artistic appeal and artistic realism of the sculpture, rendering the atmosphere, not only setting off the momentum of thousands of troops, but also maintaining stability and integrity. This sculpture is regarded by France as a national symbol and pride.

4. Rodin and his works

Auguste Rodin (1840-1917), a French sculptor, is the most influential sculptor in the world after Michelangelo in the history of European sculpture. He was the last master of classical sculpture, and at the same time opened a new path for modern sculpture.

Rodin was born in a poor Christian family. His early art career was also full of hardships and frustrations. He loved art from his childhood. After entering the Paris School of Arts and Crafts, his first teacher, Horace Lecock, taught Rodin to be faithful to the true sense of art and not to follow the rules of the academic school. His teachings influenced Rodin's life. Rodin gradually began to step into the palace of art. During this period of study, Rodin often went to the Louvre to copy the famous paintings of the masters, but because he had no money to buy oil paints, he had to transfer to sculpture. Lecock introduced him to the famous animal sculptor Bayer to study, which made him receive good basic training. Three years later, Rodin applied for the Paris Academy of Fine Arts, but failed. After that, he also failed to be admitted for two times. This is a heavy blow to Rodin, who aspires to become a sculptor. Disappointed Rodin entered the monastery to become a monk. The Abbot of Mingda thought Rodin was very talented and persuaded him to continue his sculpture career. In order to make a living in his youth, Rodin had to work as an assistant in the studio of the then academic sculptor Karier-Belles. He made sculptures in the style of Kariere, and then carved the name of Kariere and sold it. This career lasted for three years, and Rodin's hands became more and more flexible and powerful. After the outbreak of the Franco-Prussian War in 1870, Rodin came to Belgium and made architectural decoration carving for a period of time. Then he came to Italy with his savings. In Italy, Rodin experienced the style of Michelangelo's art. Michelangelo's creative spirit inspired

Rodin's long-accumulated creative impulse. After returning to Belgium, he spent one and a half years creating the Bronze Age (1876-1877, gypsum; 1878, bronze), which is 175 cm high. It was originally titled "Soldier of Love". The statue originally held a stick in its hand. Later, Rodin accepted the suggestion of others, removed the stick in the statue's hand, and renamed the sculpture "Bronze Age". The Bronze Age is the early stage of mankind after the Stone Age. This name makes sculpture have a profound meaning of symbolizing the initial awakening of mankind and getting rid of ignorance. The nude young man portrayed by Rodin seems to have just woken up from his sleep. His head is slightly tilted back and his eyes are wide open looking at the sky, with an innocent look. The naked young man's body is perfectly balanced, his body and legs are smooth and beautiful, his body is elastic, and he seems to have real breathing and blood flow, full of vitality. This sculpture poses a powerful challenge to the outdated academic sculpture with its amazing authenticity. Because the sculpture was so real, when it was sent to the official salon exhibition, the jury thought that the sculpture was a mold turned from a real person, made a heartless mockery of Rodin, and moved the sculpture out of the exhibition hall. However, this sculpture of Rodin was re-displayed and purchased by the French government. This event also made Rodin a well-known figure in France.

After the Bronze Age, Rodin created John the Baptist (now in the Rodin Museum in Paris, 1878). In this work, Rodin's artistic style is more mature. This sculpture represents John, the fanatical believer and the sufferer described in the Bible. Rodin believed that the human body was a symbol of life, and he portrayed John as a naked figure. John is the evangelist and creator of the Gospel of God. His whole nudity does not make people feel blasphemous. Instead, people feel all his faithfulness and sincerity in John's nudity. John's body was thin and strong, and the undulation of his tight muscles caused the effect of light and shadow flashing. He opened his mouth, waved his arms and strode forward to his legs. It seemed that he had inexhaustible enthusiasm and vitality under the support of unswerving faith. Rodin no longer pays attention to the precise portrayal of human details in this sculpture as in the Bronze Age, but begins to use rough strokes as a means of modeling. John the Baptist is more unrestrained and unrestrained in sculpture than the Bronze Age.

In 1880, the French government commissioned Rodin to decorate and carve the bronze gate of the French Arts and Crafts Museum, which is about to start construction. When Rodin conceived this work, he first thought of the bronze relief gate "Gate of Paradise" made by Giberti for the Florence Baptistery. He decided to take Dante's "Divine Comedy · Hell" as the theme and create a sculpture of hell on earth - "The Gate of Hell". Rodin began to write "The Gate of Hell" at the age of 40. Until his death in 1917, he didn't think he had finished the work well. In the 27 years after he accepted the task, Rodin devoted his main energy to the creation of this work. He works sixteen or seven hours a day, sometimes longer. The French government allocated him a sum of money and a large studio. Rodin himself rented another two studios. He took turns working in three studios so that he could create several works at the same time.

"The Gate of Hell" inspired Rodin's boundless imagination. In the process of completing this creation, he also reached the highest level in sculpture skills. Rodin created countless sculptures for The Gate of Hell, including some of Rodin's quite famous works, such as The Thinker, The Three Shadows, Kiss, Adam, Eve, etc. The Gate of Hell has become a big stage to display Rodin's sculpture art.

Before "The Gate of Hell", architectural decoration carving usually divided the composition evenly according to the story of the sculpture, and the layout was relatively neat. But Rodin regards the whole of Hell's Gate as a big composition, and only shows a theme of hell: "You come here and give up all hope. The plane of the whole gate is crisscrossed with high relief and shallow relief. Under the light, they form an intricate shadow, which makes the whole gate look gloomy and full of fear that cannot be calm.

Above the lintel of "The Gate of Hell" are three male human bodies with the same shape and drooping head, known as "Three Shadows" ("Three Shadows" was later made into a bronze group sculpture with a height of 192 cm). Their eyes lead the viewers' eyes to "Hell". The banner under the lintel is the entrance of hell, and the sinners who are going to be sent to hell are struggling in the last agony; At the center of the banner is a man who is larger than the size of the human body around him. He holds his cheek in his hand and falls into meditation. He is called "The Thinker" ("The Thinker" was later made into a 200cm high bronze statue). Under the banner, the middle slit of the gate naturally divides the composition into two parts, but the two parts are integral in content. It depicts that countless evil souls are falling into hell, and they are struggling in pain and despair. All the people on this gate are naked. Rodin believes that only the human body can best express human thoughts and feelings.

After more than 20 years of creating "The Gate of Hell", these portraits once again showed his keen observation and superb skills. He used the classicism technique to express the portrait characters vividly and full of personality. However, Rodin's sculpture is significantly different from the academy sculpture. His works are more simple, without any pretense, and the sculpture itself has not been finely processed, and has maintained the traces of rough kneading and carving. Rodin believes that this is a unique form of beauty of sculpture, which can often create an unpredictable light and shadow effect and enhance the richness of people's experience of sculpture, so Rodin often deliberately emphasizes it.

Balzac is Rodin's last great statue. This sculpture was accepted by Rodin in 1891 by the President of the French Literary Association. In order to create this sculpture, Rodin personally visited the birthplace of Balzac, found models similar to Balzac's image, and made 17 10-foot-high Balzac statues based on them. However, Rodin was not satisfied with these works. He delayed the time of submission. After nearly two years, he created more than 20 Balzac statues, and finally determined the image of Balzac. In this final sculpture, Balzac was dressed in a scruffy pajama-style gown, and his hair was loose, like a lion. His surface is uneven, but on such a surface, there are emotional changes in light and shadow. Balzac's arms hung low in his long sleeves, without hands. Rodin had carefully shaped Balzac's hand, but because his hand was so excellent that it was a bit competitive, Rodin did not hesitate to cut off that hand. Rodin abandoned the aesthetic principles of classicism, instead of repairing the cut "wound" on the sculpture, he finalized the statue of Balzac.

5. Quelcha's The Exiled Garden of Eden

Jacob del Quercia (1374-1438) is a famous sculptor. Because of his talent in sculpture, he once participated in the design competition of the bronze door relief of the Florence Baptistery, and was also a world-class sculptor at that time.

Quelcha's relief creation is very innovative. "The Exiled Garden of Eden" is one of the reliefs at the gate of Peter's Cathedral in Bologna, and it is a work that most of Quelcha's works survived after being looted. The works portray the characters in detail and vividly reproduce the legendary and ideal characters. We can see that the body structure of the figure sculpted by the artist is symmetrical, plump, beautiful and strong, and the skin of the body is elastic, full of strength and flexibility, which is the perfect combination of strength and softness. The characters portrayed in the works are like living people. They can break through the relief frame and come down to the real world at any time.

Quelcha's relief creation has changed the popular Gothic slim and slim modeling formula, and boldly used the form of monument. It can be said that Quelcha's creation created a precedent for the style embodied in the combination of grandeur and tenderness, strength and beauty in the Renaissance. The "Paradise Lost" in the Sistine zenith painting created by the sculptor Michelangelo is obviously influenced by the Quelcha relief style.

6. Wudong and Voltaire

Jean Antoin Houdon (1741-1828), a French sculptor in the second half of the 18th century. At the age of 15, he entered the Paris Academy of Fine Arts and studied under the guidance of the master Petgal. At the age of 20, he won the Rome Prize and went to Italy to study for five years. During his study abroad, his psychological portrayals of characters such as "Escosi" and "San Bruno" were very subtle and highly appreciated in Italy. After returning home, he has been a professor at the Paris Academy of Fine Arts. His "Morphos" was exhibited in the salon and received warm welcome and wide praise.

In 1776, Wudong created the courtyard decoration marble sculpture "Diana" (now in the Gurban Collection in Lisbon, Portugal), which portrays a healthy and vigorous young woman with an arrow bag on her body and an arrow in her right hand, looking for prey while walking. This work is elegant and noble, and its style is quite different from that of Falcone's work of the same name 20 years ago. Diana of Falcone focuses on the tenderness and mild shyness of women, while Diana of Wudong is solemn and simple, full of confidence.

Wudong's artistic achievements in sculpture mainly lie in portrait sculpture. After the 1970s, Wudong mainly engaged in portrait creation. His modeling ability has laid a solid foundation when he was in Italy. He has shown great talent in portraying the character of models. Later generations said that Wudong was the master who brought spirit and life to the stone statue.

Wudong created a number of vivid portraits for scientists, politicians, thinkers and artists in the 18th century French Enlightenment. Among them are the Bust of Moliere, the Bust of Rousseau (1778), the Statue of Voltaire (1781), the Statue of Mirabo (1791), the Bust of Franklin (1778), and the Washington Monument (1785-1791). These portrait sculptures have reached a very profound and meticulous level in the performance of the outstanding character of the characters.

Wudong is very good at depicting people's eyes. He broke through the traditional norms and focused on exploring a variety of new techniques. He often digs out a part of the iris of his eyes, leaving a piece of sculpture base material, and digs a deeper hole in the pupil, using light and shadow to create illusion effect, as if the eyes were flashing. Wudong used his wonderful "eye touch" to show the wisdom and cunning of Voltaire, the simplicity and confidence of Franklin, and the solemnity and grandeur of Washington through human eyes.

Wudong's terra-cotta sculpture "The Bust of Louise in the Childhood" (1777, now in the Louvre Museum in Paris) is the use of naturalistic techniques to create the image of a pure and lovely little girl. Her small face is round and smooth, her sweet and delicate lips are slightly open, and her eyes are clear and natural, as if she is watching something intently. In the face of this extremely vivid work, viewers seem to have doubts - is it a sculpture, or a pure and moving little girl forever?

The marble statue Voltaire (1782) created by Wu Dong is known as the most outstanding portrait sculpture in the history of sculpture. Voltaire was a great philosopher, dramatist and social activist in France. He fiercely criticized feudal autocracy and religious superstition all his life. In order to create the image of Voltaire, Wudong has made many head portraits and bust portraits for him. This sitting figure was created one year before Voltaire's death. This statue of Wudong truly records the life image of the eighty-year-old philosopher, and at the same time, it profoundly and delicately displays his personality characteristics. Voltaire's face was thin, but his sharp big eyes conveyed his inner passion, and his mouth showed a mocking smile. In front of this sculpture, people seem to feel that every muscle on Voltaire's face is changing and moving, and his face is glowing with fresh wisdom forever.

The deep tradition of portrait painting in Europe has provided a solid foundation for the portrait carving in Wudong. The rich and complex characteristics of the figure's shape, especially the facial shape, can usually reflect the character's internal character characteristics. Wudong is very good at grasping the shape characteristics that can reflect the unique personality of the characters, and at the same time keenly catching the rich changes of the characters' emotions and emotions, and displaying the characters' distinctive personality in the vivid emotional portrayal. In addition, he is also good at grasping the overall atmosphere of sculpture and paying attention to unifying the atmosphere of portrait sculpture and the whole sculpture. These characteristics of Wu Dong's portrait creation make his portrait sculpture art reach a perfect state.

7. Mayor and the Mediterranean and other works

Aristide Mailloi (1861-1944) is a famous French sculptor as famous as Rodin. In his early years, he was infatuated with weaving tapestries. Because of overwork, his eyes were greatly damaged, and he was blind for a time. Only then did he have to start to engage in sculpture art creation. At that time, he was at the age of no doubt. However, with his great talent and hard work, he also achieved great success in sculpture. When Maryol was engaged in sculpture, Rodin's influence in the sculpture world was already at its zenith, but Maryol was not deterred by the mythical "authority". He built a sculpture art creation style different from Rodin's with his own work. If Rodin expressed his poetic passion in his inspiration in the various unbalanced dynamics of the characters, Mayor achieved full and quiet harmony by establishing the quality center of sculpture. His creation attaches great importance to the static and eternal nature of the human body, and introduces the principles of architecture into sculpture, which has made great changes in sculpture art since his inception. The composition of his works is rhythmic, and any analytical observation is abandoned. His statue image has the characteristics of static and figurative.

The Mediterranean (1902-1905) is the foundation of a series of immortal works by Mayor. The Mediterranean is an immortal work finished in stone on the basis of numerous clay works. Maryol's creation always requires numerous modifications and refinements to his works, striving for perfection. Most of his sculptures are marked with two dates, one is the date when he started to create, and the other is the date when he thought it was finished. The two dates are usually far apart, sometimes even decades apart. During this period, Mayor often created many exercises and variations, and constantly changed his works, sometimes even fundamentally. Because of this creative method, Mayor's works are almost devoid of supernatural strokes and improvisational effects. Instead, they rely on some conventional methods and patiently pursue a unique work that conforms to the artist's temperament according to certain principles.

Another characteristic of Maryol's sculpture creation is that he never pursues addition in sculpture, but always makes subtraction. He always said that he should use the least words to express the most meaning. For example, there was no swan in the traditional theme "Rita" created by him in 1900. This sculpture only implied the theme of the work through the figure's body posture. He has created a series of monumental sculptures, including the "Bounded Freedom" and the Cezanne Monument, which were created in memory of the revolutionary Bronchi. The monumental sculptures he created were also expressed in nude and semi-nude female forms, which was difficult to understand at the beginning and had been opposed, believing that such creation would weaken people's respect for the memorial. However, by increasing the preciseness, power and sincerity of the metaphor, Mayor made the monument acquire the real commemorative characteristics with the elegant words created by the human body.

As an outdoor sculptor, Maryol pays attention to making his sculpture surface not too shiny as far as possible, so that natural light and shadow can affect the integral volume of his sculpture.

At the age of 60, Mayor once traveled and investigated in Central and Southern Europe. After visiting the sculptures of ancient Greece and Rome, he became more determined to follow his own path. After that, he created a series of sculptures named after natural scenes: "Spring", "Mediterranean", "Summer", "Night", "Air", "Mountain", "River" and so on. These works show that his inspiration comes from the eternal nature. The female body and curly hair become the symbol of nature, and the female body becomes the endless treasure house of Mayor's metaphor and symbol. This kind of symbolic technique makes Mayor surpass the resemblance and the typical. As for the female body, Mayor is more interested in the simple and beautiful body of young girls, because he has a deep love for those who have not experienced the hardships of life.

Almost all of Maryol's works are figures, but he is not interested in the expression of personality, but attaches importance to the image generalization of ordinary spirit. He successfully used the technique of reducing details to gain strength. His works are full, quiet and exquisite, without too much contour changes, but only simple and vivid geometric shapes. "I have only a few main parts, which are too many. I prefer to have only two parts like the ancient primitive artists." This is his creative purpose and feelings.

8. Henry Moore and his main works

Henry Moore (1898-1986), born in Yorkshire, England, studied at the Leeds School of Arts and the Royal College of Arts in London in his early years. During his study, he received a large amount of scholarship, which enabled him to travel to France and Italy. In 1934, Henry Moore expressed his artistic position in a statement: "The beauty given by ancient Greek artists and Renaissance artists is not the beauty we seek. There is a functional difference between the beauty shown and the strength shown. The former is intended to be pleasing to the eye, while the latter tends to reflect spiritual life. For me, the latter is more moving and profound." He believed that sculpture should not violate the hard and dense characteristics of stone, Make it lose its own characteristics. In terms of technology, he has studied the ancient Greek sculpture art tradition, the Mexican sculpture art spirit and the Egyptian sculpture art situation, so that he has carried out in-depth, detailed and comprehensive excavation and research on the prehistoric sculpture tradition. It can be said that this kind of excavation and research has played a very important role in his creation.

Henry Moore has created a large number of copper sculptures, and has deeply studied the use of cement and clay for sculpture. Therefore, his direct creation and application of materials are so easy to use.

Henry Moore pursues the restoration of primitive entities in sculpture. He takes the bone shape and the connection of bones as the basic form unit and basic form. He also digs holes in the entity, creates void to expose the internal form, and takes void and void as the extension of the entity, and then gathers different forms to create a new symbol of living objects, and a symbol of racial experience that has been branded in human spiritual temperament.

He was able to successfully make the audience close to the beginning of everything in front of his sculpture. He often made the same object into different sizes, from a few inches to larger than a real person, but the weight and richness of the sculpture itself remained unchanged.

There are many variations in Henry Moore's recumbent sculpture, ranging from mild expressionist style to pure abstract style. These sculptures of different shapes have become the symbol of modern people seeking comfort, returning to the primitive, summoning primitive life, and fully reflecting the modern spirit.

Henry Moore's first work, "The Skew Human Body", created in 1926, is that he has carefully observed the organic forms of nature for many years, such as shells, bones, roots, etc., to understand the natural forms shaped by natural forces, and to reflect the laws of natural forces in his works as much as possible. In his works, the style of primitive art and modern art blend harmoniously. The side-lying human figure created by Henry Moore has smooth lines, thick volume, small head and unexpected round hole, which appropriately symbolizes the female body.

Henry Moore's works have a rhythm that can be harmoniously integrated with nature. These figures lying on the side have a strange shape, and their bodies are bent. The concave and convex sides form a strong contrast.