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90年代是一个重要的转型期，由雕塑向雕塑-物品的转换改变了2000年代中国雕塑的面貌，也改变了传统雕塑的概念。雕塑形态的多样性不仅是雕塑自身语言的发展，也为反映现实和切入当代文化提供了可能性。90年代还有一个重要现象是公共雕塑的大规模发展，这和中国经济的高速发展有关，一方面是城市建设的需要，另一方面是资金的大量投入。公共雕塑本身没有提供更有创造性的雕塑语言，除了传统的纪念性样式就是样式化的抽象。但公共艺术给当代雕塑的最大启示是雕塑的空间性，像“环境”、“偶发”、“行为”、“装置”等新的语汇进入雕塑领域，极大地扩充了雕塑的概念，也使雕塑从室内走到户外，与现实事物相融合，普通观众的直接参与。雕塑不再被视为独立的架上物品，而是与更广泛的社会生活相联系，更普通的、世俗的、低级的或日常生活的材料进入雕塑，这些材料所从属的社会关系也在城市、环境、社会和政治等各个层面回应到艺术之中。雕塑不再是工作室的产物，也不是展出于固定的空间和长期置放的地点，而是在历史的遗址、城市的街道、象征制度的场所，甚至私人的生活空间，其互动的含义不言而喻。
从现实主义雕塑和学院派传统演变而来的具象雕塑，在当代雕塑中的作用也是中国当代雕塑的特色。具象雕塑在形态上倾向于“图像雕塑”、“商品雕塑”，反映了消费文化的强大影响，也反映了人在消费社会或当代社会的精神困境。与此相适应的是具象雕塑与装置、环境，甚至影像的结合，在技术上则是学院的传统训练和商业图像的结合。在关于雕塑的边界日益引发争议的今天，具象雕塑无疑是对这种争议的牵制，但在当代艺术中最具创造力和功能性的雕塑究竟会怎样继续扩充它的边界，从它的历史来看，似乎很难想象。
The Expanding Boundary
Yi Ying
China had experienced earthshaking changes since the policy of reformation and opening implemented 30 years ago and so had the Chinese sculpture art if we look back on its developing process.
In the beginning, the changes were not obvious. The Cultural Revolution did great damage to the sculpture traditions in New China. The main task for the sculptures in the initial stage of the new period is to restore the realism tradition. The essence of realism is to reflect the reality as it is, however, the reality is experienced and comprehend by subjects and different subjects have different reality experiences and comprehensions, which is the diversity of realism when reflected on sculpture. The diversities of realism include the various choices of subject matters, dealings of forms and the mutations of themes. Although the leader subject matter and the images of workers, peasants and soldiers still make a great proportion, there is a growing increase of non-politic subject mattes, which are more suitable for the dealings of images and expressions of beauty. The sculpture had taken a modern change since the early periods of 80s, which is directly resulted from the reform and opening up to the outside world policy. The western modern art was brought in and the artists sought after the emancipation of minds, freedom of creation, laid stress on self-expression and abandoned the traditional patterns. The earliest sculptures that embodied the modern characteristics, like the realism sculptures, were created by a group of old artists. The initial trend can be called primitivism. Different from the rustic realism in painting, the primitivism in sculpture possesses an obvious formalism characteristic and the sources of the form are mainly from the country and originality. The forms derived from the people, folk customs and local cultures not only found the lost human nature but also expressed the innocent and original beauty, which are exactly the things that got lost in the arts for politics’ sake era. The concept of primitivism come from the western modern art, but the resources of form are rooted in the land of China, which seems like an implication that the China’s contemporary sculpture had been developing among the relations of reform and opening and the Chinese way throughout the whole process.
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