Analysisofthetraditionalwood\andmodernsculpturemodernsculptureartlinksPaperKeywords:traditionalwoodentiesofmodernsculptureAbstract:woodcarvingartinChinahasexistedforthousandsofyearsofhistory,isChina’straditionalcultureandartinawonderfulwork,andisnow,isstilllovedbythemajorityofpeople.Woodcarvingasabothpracticalandornamentalartofakind,developmenthasbecomepartofmodernsculpture,modernsculpturehasenrichedthecontentofthetraditionalwoodafterthepassageoftime,butstillenduring,withitsownartisticvalueareinseparable.Withthedevelopmentofsculpturetechniquesinnovationandmaturethetraditionalwoodandmodernsculpturetogetherformasculptureoftodayinthisarticle,IwilltraditionalwoodandmodernartsculpturecontactwithmodernsculpturemodernsculptureartlinksandtheresultingariseoutofthetraditionalandContacttheartofthesethreefronts,andeveryonewillworktogethertoexploresculptureandenjoythesculpture.1Sincetheemergenceofsculpturehasbeenonpeople’saestheticandaestheticchangesinheighthaveasetinancientcivilization,withindelibleutilitarianvalueofhumanlifeiscomposedoftworequirements,namely,materialandfunctionalrequirements.woodcarvingwasabletoputthesetwoneedsrolledintoone,whilemeetingtheneedsofbothpeople,so,intheprocessofdevelopmentofhumancivilization,woodhasalwaysbeentheirposition,andwiththecontinuousdevelopmentofsociety.thedevelopmentoftraditionalwoodcarvingsofar.hasbecometodayanintegralpartofthesculpturebelow,wehavetoanalyzethespecifictraditionofwoodcarving,sculptureandmodernsculpture,modernartlinks.First,thetraditionalwoodandmodernsculptureartlinksChinesesculpturehasalonghistoryintheprehistoricdisplayaveryhighstandardofChinesesculpture,althoughthehighartisticvalue,butinancienttimes,fewpeoplerealizedthisalongtime,peoplearelackofknowledgeofChinesesculpture,andevencanbesaidthatwoodInancienttimeshadhumbleisnotawork2ofartonthisisbecausethousandsofyearsoftraditionalChineseacademicthoughtthenarrow-mindednessatworkinancientChina,menofletters,VIPsandsomeofthetraditionalliteratiadvocatingdecadentartisthe‘piano,chess,calligraphyandpainting,’Artdoesnotrequirethemtospendenergy,isasymbolofidentityandself-cultivationskills,asakindofself-cultivation.thesameart,woodcarvingartofthetreatmentisanaturalinothers,literatiandthosewhodonotthinkthisisanart,butmanufacturingone.Bashansheshuicollectionlikewoodthatneedrawmaterials,theyneedsomeknivesandothertoolssuchasfilecarvingtocompletetheitems,theso-calledupperclassisdismissive.Woodcarvingsaredonebyanumberoffolkartists,theywillfeedtheirfamiliesastheirownsculptureofacraft,anddidnotthinkhowhightheartisticvalueofChinesesculpturehasalwaysbeendifficulttogetattentionbythoseinpower,inthetraditionalhistoryofcivilizationdidnotgetcorrespondingposition.Astheactivitiesengagedinsculpture,mostofthemarefolkartists,mostofthemculturalknowledgeisnothigh,hands-onability,butthetheoryisdeficientinnoonecanconsciouslyput3itsaestheticspushtoformacompletetheoreticalsystemtothestageofhistory.sculpturetechniqueshandeddownfromgenerationtogeneration,canonlyrelyonartisanswhofollowtraditionalChinesepaintingintheformofimitationandproduction,asacrafttomakemoneyintheinherited,makingthesculptureitselflostitsownuniqueformofcreativityandlanguageThislowlevelofthetraditionalsculptureoftheconceptofslaverycontinuestothisday.Traditionalwoodcarvingtraditionofsculptureasthemostimportantpart,hasspread.Ourtraditionalwoodcarvi...