The All-China National Art Exhibition, serving as a platform to showcase masterpieces from various art disciplines within the national art system since the establishment of New China in 1949, remains one of the most large-scale, prestigious, and significant events in the art world, that attracts a vast number of participants. Sculpture is an important section of the Exhibition, and the works displayed over different years reflect the progression of the New China art. Thematic sculpture constitutes an essential segment of sculptural work, especially in the present day, as thematic sculpture in China is liberating itself from the constraints of political service and becoming more diversified in terms of theme selection, style, materials, and methods of conveying the artist’s intent. Therefore, the analysis and summarization of thematic sculpture at the National Art Exhibition holds particular importance for the systematic study of Chinese sculpture in general. This article analyzes the theme and expression of thematic sculpture pieces exhibited at the National Art Exhibition after the beginning of the Reform and Opening-up period in the late 1970’s. The specific characteristics of the sculpture and the reasons behind them are explored, summarized and classified. We aspire that this will not only contribute to the existing theoretical literature on thematic sculpture and provide guidance for creative practice, but also have methodological and referential value in the study of thematic art in general. It also delivers a comprehensive summary, analysis, and interdisciplinary study of the diversity of thematic sculpture, integrating the methods of art history and sociology, which will aid in structuring and enhancing our understanding of the varied creative approaches employed in the creation of thematic sculpture. We hope this study holds both theoretical and practical significance.
Yu Hangyong (Sun,) studied this question.