How to grasp the spatial mood of Stone Garden Statues

As we all know, if a work of art leaves the appreciation of the audience, it loses its meaning of existence. The same is true for a Stone Garden Statues. The spirit it conveys directly affects the person communicating with it through the spiritual aura. Upward fighting power, people unconsciously carry out spiritual baptism while admiring the Stone Garden Statues. If you pay attention to the city's street gardens, you will find some animal Stone Garden Statues. A few goats, a group of monkeys, or a big cat. When these Stone Garden Statues suddenly appeared in the space, miraculous things happened. The masses were more willing to stay in this environment, and even played around the Stone Garden Statues. The space suddenly became more active, which shows that the Stone Garden Statues can fully mobilize and improve the mood of urban public spaces. Among the religious Stone Garden Statues throughout the ages, the shape of the Stone Garden Statues has more obvious control over the spirit of space. Whether it is the art of Stone Garden Statues inside and outside Christian churches in the Middle Ages, or various statues in oriental Buddhist grottoes and temples, the audience will inevitably become devout when facing these religious Stone Garden Statues. Why is there such a change? This is because, through the presentation of the statues in the stone garden, a powerful aura is formed, and the strong religious emotions force the hearts of the audience to communicate with each other. It can be seen from this that the grasp of spatial emotions has become the key to the spiritual space of Stone Garden Statues.

So, for stone sculptors, how should they use their professional ability to ensure the effective expression of the spatial emotion of Stone Garden Statues? The spatial emotion is invisible and intangible, it is only an environmental atmosphere, so it must be realized with the help of a tangible carrier. accomplish. This carrier is the shape of the Stone Garden Statues, using tangible shape to realize the grasp of the invisible spiritual space. Just like the dialectical relationship between existence and non-existence pointed out in Laozi's "Tao Te Ching", for a Stone Garden Statues, the shape is the means, and the invisible spiritual space established by it is its purpose. The author believes that stone garden sculptors need to fully consider people's aesthetic cognition characteristics when deliberating on the shape of Stone Garden Statues. Visual elements are expressed in the way of overall perception in human sensory reflection. That is to say, in human visual perception, various visual elements obtained by human will be organized into a meaningful overall structural form. Based on this, stone sculptors can promote the embodiment of the spiritual field of Stone Garden Statues in the following ways.
First of all, the unification of the expression techniques of each part of the Stone Garden Statues is conducive to the overall coordination of the space art atmosphere. Secondly, use the repetition of the form matrix to strengthen the expression of the space emotion of the Stone Garden Statues. When the audience appreciates the Stone Garden Statues, their field of vision is limited, and the visual experience they usually get is fragmented. In the same space, a single visual element itself will form a single force field perceptually. It will form a visual connection and gravity with each other, and combine them into an overall visual form. If a certain modeling language is perceived many times, it will help to form a grasp of the overall cognition of the space.
Thirdly, the comprehensive use of multiple elements strengthens the establishment of the space mood of the Stone Garden Statues. Space as a whole, the color, material, touch, sound, etc. are its constituent elements, and the comprehensive use of these elements can enhance the spatial experience of the work. It is more obvious in the creation of contemporary Stone Garden Statues, especially in some works with installation meaning. For example, in the "Door Series" by the young stone sculptor Yue Yanna, the shape of the door is combined with the sound of dialogue, screaming, knocking, dog barking, etc., so that the audience can feel the information conveyed by the work from all aspects of vision, touch and hearing. The audience enhances the emotional experience of the space through behaviors such as touching with hands, listening to the sound, looking for the source of the sound, and stepping forward to peek through the cat's eyes on the door.
In short, it is of practical significance to explore the spiritual space of the statues in the stone garden. Through the display of its shape, the Stone Garden Statues controls the spirituality of the place space and plays an important role in the emotional expression of the place. And the broad masses of the people need substantial and positive spiritual pursuits. Stone sculptors can use the influence of the spiritual field of stone sculpture to let the public feel the spiritual power of national complex, regional identity and the pulse of the times from the process of appreciating stone sculpture. The works created by stone sculptors in the new era are not only for the collection of museums and galleries, but also should bring spiritual pleasure to the general public, and actively carry the responsibility of spreading excellent cultural ideas by means of creative stone carving forms.