Relief sculpture has a long history and continues to develop with the evolution of the times. As a kind of humanistic creation, relief always shows and enriches human history and civilization with its unique artistic form; As a visual art, relief, together with other art forms, records and constructs the evolution track and prosperity of art with its occurrence and development. Relief is more used to express aesthetic will, optimize social and cultural environment and spread the spirit of the times. Under the influence of new technology, new knowledge and new ideas, modern relief sculpture presents a diversified and rich development trend.

在創(chuàng)作過程中，藝術(shù)家受到諸如觀念與審美、材質(zhì)與工藝、創(chuàng)作心理與時代需要等要素的制約。正是這些制約、構(gòu)成了浮雕雕刻特殊的藝術(shù)本質(zhì)和語言形式。雕塑家只有充分利用這些要素制約，熟悉其創(chuàng)作形態(tài)及語言形式的特殊性，揚(yáng)長避短，“不擇手段“地發(fā)揮自己特有的靈感，才能在創(chuàng)作的天地中自由馳騁。地方文化歷史傳統(tǒng)、人群的自然構(gòu)成及他們的生活方式，心理因素等條件都成為浮雕創(chuàng)作的背景材料，雕塑家憑借一系列背景材料形成他們獨(dú)特的創(chuàng)作意識和表達(dá)語言。

In the process of creation, artists are restricted by elements such as concept and aesthetics, material and technology, creative psychology and the needs of the times. It is these constraints that constitute the special artistic essence and language form of relief sculpture. Sculptors can only make full use of these factors, be familiar with the particularity of their creative form and language form, and develop their strengths and avoid their weaknesses, Only by giving full play to their unique inspiration by "unscrupulous means" can they gallop freely in the world of creation. Local cultural and historical traditions, the natural composition of people, their lifestyle and psychological factors have become the background materials of relief creation. Sculptors form their unique creative consciousness and expression language with a series of background materials.

浮雕雕塑是人類精神文明發(fā)展的新動態(tài)，其產(chǎn)生有著相關(guān)的時代背景與社會需要。不同時代的社會呈現(xiàn)出不同的面貌與特征，浮雕雕刻空間形態(tài)在當(dāng)代發(fā)展的規(guī)模與開放性決定了它是造型藝術(shù)領(lǐng)域中大眾性與開放性的一門藝術(shù)?，F(xiàn)代雕塑家面對人類新的文化生存環(huán)境所進(jìn)行的浮雕雕刻創(chuàng)作的思索，他們的思想越過表現(xiàn)界面規(guī)定的框架，在整體建筑空間和環(huán)境中跳動。特別是存在于大型公共建筑物或紀(jì)念性空間的室外浮雕，更促使雕塑家對環(huán)境進(jìn)行時間和空間方面所具有的深層內(nèi)涵挖掘。

Relief sculpture is a new trend in the development of human spiritual civilization. Its emergence has related era background and social needs. The society of different times presents different features and characteristics. The scale and openness of the contemporary development of relief carving space form determine that it is an art with great popularity and openness in the field of plastic arts. Modern sculptors think about the creation of relief sculpture in the face of the new cultural living environment of mankind. Their thoughts jump across the framework specified by the performance interface and jump in the overall architectural space and environment. In particular, the outdoor reliefs existing in large public buildings or memorial spaces encourage sculptors to excavate the deep connotation of the environment in terms of time and space.

所謂時代與社會的發(fā)展必然體現(xiàn)于大眾之愿，那么浮雕的存在與發(fā)展不能自行所愿，浮雕雕塑以創(chuàng)造的想象作用于人所處的空間，并與其他因素通過特定方式的組合使“空間”成為特定的“場所”，通過美的創(chuàng)造使之具有精神方面的內(nèi)涵及意義。浮雕雕刻是以建筑為主體的文化生態(tài)環(huán)境一個組成部分，因而雕塑家應(yīng)具備建筑及城市空間環(huán)境方面的基本知識，注意建筑環(huán)境的結(jié)構(gòu)、空間光線、物體色彩、環(huán)境氣氛與浮雕的互相作用。

The so-called development of the times and society must be reflected in the wishes of the public, so the existence and development of relief sculpture cannot be desired by itself. Relief sculpture acts on people's space with creative imagination, and combines with other factors in a specific way to make "space" a specific "place", which has spiritual connotation and significance through the creation of beauty. Relief carving is an integral part of the cultural ecological environment with architecture as the main body. Therefore, sculptors should have the basic knowledge of architecture and urban space environment, and pay attention to the interaction between the structure of architectural environment, space light, object color, environmental atmosphere and relief.

浮雕雕刻源遠(yuǎn)流長，并不斷隨著時代的演化而發(fā)展。作為一種人文創(chuàng)造，浮雕始終以其獨(dú)特的藝術(shù)形式展現(xiàn)、豐富著人類的歷史與文明；作為一種視覺藝術(shù)，浮雕與其它藝術(shù)形式一道，以它的發(fā)展記載、構(gòu)筑著藝術(shù)的演進(jìn)軌跡與繁榮景象。浮雕更多的被用來表達(dá)審美意志，優(yōu)化社會文化環(huán)境及傳播時代精神。現(xiàn)代浮雕雕刻在新技術(shù)、新知識、新觀念的影響下，呈現(xiàn)多元化、豐富性的發(fā)展態(tài)勢。在創(chuàng)作過程中，藝術(shù)家受到諸如觀念與審美、材質(zhì)與工藝、創(chuàng)作心理與時代需要等要素的制約。

Relief carving has a long history and continues to develop with the evolution of the times. As a kind of humanistic creation, relief always shows and enriches human history and civilization with its unique artistic form; As a visual art, relief, together with other art forms, records and constructs the evolution track and prosperity of art with its occurrence and development. Relief is more used to express aesthetic will, optimize social and cultural environment and spread the spirit of the times. Under the influence of new technology, new knowledge and new ideas, modern relief carving presents a diversified and rich development trend. In the process of creation, artists are restricted by elements such as concept and aesthetics, material and technology, creative psychology and the needs of the times.

正是這些制約、構(gòu)成了濟(jì)南浮雕雕塑特殊的藝術(shù)本質(zhì)和語言形式。地方文化歷史傳統(tǒng)、人群的自然構(gòu)成及他們的生活方式，心理因素等條件都成為浮雕創(chuàng)作的背景材料，雕塑家憑借一系列背景材料形成他們獨(dú)特的創(chuàng)作意識和表達(dá)語言。

It is these constraints that constitute the special artistic essence and language form of relief sculpture in Jinan. Local culture, history and tradition, the natural composition of people, their lifestyle and psychological factors have become the background materials of relief creation. Sculptors form their unique creative consciousness and expression language with a series of background materials.