The dragon on the bronze dragon opens its mouth and upper lip volumes up

The relationship between the actual situation is a relative concept, the two complement each other. Mostly the patterns on the bronze sculptureare symmetrical arrangement and prevalent in late Shang and Western Zhou Dynasty. Ideological and practical by comparison. No virtual no real. In dealing with the relationship between the two is necessary to link together, can really deal with the relationship to the actual situation appropriate. As a means of Memorial sculptures handling the actual situation the relationship is engraved sculpture in the round, relief, and line phase used in combination.
The sculpture in the round gives a strong physical sense of space, belongs to the most real part, relatively speaking, the relief and line engraved significantly in physical space is relatively weak, to combine the two, will be able to deal with the relationship to the actual situation. The body of Juanlong wen (coiled dragon) on the bronze sculptureoften designed curling up with nose to tail or spiral-lik. "To Bombard art sculptures" the handling of the advantages of this actual situation. In each part of the junction and the climax of carvings are highlighted, another bas-relief made of some of the virtual image and texture than the back of some local people feel the extension of the space. Processing in a smaller space, through the relationship of the actual situation, people feel the deepening of the space. Handling, such as commemorative sculptures of light and shadow, composition, density, etc. can be used as a means of dealing with virtual and real space.
And the same principle as the painting, bronze sculpture also pay attention to the handling of light and shadow. Near real part of the light and shade heavier. The bronze sculpture of handling will have to pay attention to the backlight surface inclination. By light impact as little more light and shadow is more concentrated. And vice versa, the more light, but also the more virtual. The handling of relief at the same level to deal with the actual situation relations into Chongqing University Academy of Anti-Fascist War theme to commemorate the sculptures of artistic language. It is decorated in the center of thebronze sculpture.  Dynamic Memorial statues and dynamic addition to the narrow interpretation of the character dynamic bronze sculpture, but also to commemorate the sculptures as a whole constitute the understanding of the momentum dynamic.
 The overall composition of the dynamic is one we can see, constitute an important factor in Memorial statues and the overall momentum, so more important than the specific character of the dynamic significantly. "Iwo Jima Memorial sculptures" to its overall composition of the accurate expression of the dynamic momentum moving works. From the Yin Dynasty to the period of Warring States, this kind of patterns is common on the bronze sculpture. The composition of the whole works into a triangle. Of clever use of the composition of this basic triangle-shaped. Six people-oriented agreed to face the flagpole side, so that visitors visual shift to the bottom of the flagpole, so that visitors feel the moment the banner of victory was about to be plugged in, the people back to that fierce battle .  During the aesthetic, the aesthetic object there is always a visual center of gravity, density relationship is to reflect the requirements of the visual center of gravity space approach. In addition, the space density relationship can also be used to express emotion. "The Bombard art sculptures" will use the space density of this feature. The dragon on the bronze dragon opens its mouth and upper lip volumes up, down or lower to the mouth. In the first part of the air raid sirens, people turn to enter the air-raid shelter, and the atmosphere is relatively easy, so the spacing between the characters is moderate. In the second, third part, the expression is the process before the massacre, the atmosphere gradually the tension density relationship also with the changes in the atmosphere gradually changes. Especially to the last part, between people there is no gap, this approach feel suffocated once again let the audience feel the tragic extent of this tragedy. The actual situation of the actual situation the relationship is also an important embodiment of the spatial relationships.