• What questions or problems are central to it?

• What point of view(s) or frame(s) of reference do I need to learn to reason within?

• What are people in this field trying to accomplish ? 

• What kinds of questions do they ask? What kinds of problems do they try to solve?

transfer into visual expression

• What sort of information or data do they

gather?

• How do they go about gathering information in wavs distinctive to this field?

• What are the most basic ideas, concepts, or theories in this field?

• How should studying this field affect one's view of the world?

• How are the  production of this field used

in everyday life?

Paul, R. and Elder, L. (2006) The art of asking essential questions. Santa Rosa CA: Foundation for Critical Thinking. p10

Unknown maker (original),

Eugène Arrondelle, Chef du Moulage, Musée du Louvre (reproduction) c.640 BCE, Greece (original), purchased c. 1922 CE (reproduction)

Plaster cast

Museum of Classical Archaeology, Cambridge, 2

Hepworth said ‘I think every person looking at a sculpture should use [their] own body. You can’t look at a sculpture if you’re going to stand stiff as a ramrod and stare at it. With a sculpture you must walk around it [or] bend towards it...’ ”

Resource from: https://www.tate.org.uk/kids/explore/who-is/who-barbara-hepworth

My thoughts:
It has similar holes to the Taihu stone in China, but it is more omitted and simplified, and has more modern and design elements.

14–68 CE

Copy of a Greek work of the second century B.C.

During the Hellenistic period, artists became concerned with the accurate representation of childhood, old age, and even physical deformity. The range of subject matter was extended to include genre-like figures from the fringes of society. Fine, large-scale statues of fishermen, peasants, and aged courtesans became valued religious dedications, sometimes placed in a park-like setting within the sanctuary of the god. Although this statue is known familiarly as The Old Market Woman, it probably represents an aged courtesan on her way to a festival of Dionysos, the god of wine. 

Resource from: https://www.metmuseum.org/art/collection/search/248132

屏风是一种分割空间和折叠空问的方式，也扭曲了物体的内外空间关系。所以我想将撕开面容的佛像赋予这种空间关系，让它变得平面化、几何化。

The piece depicts "the monk's face in supernatural corporeal transformation, splitting open to reveal the face of the numinous Eleven-Headed Kannon [Guanvin]." symbolizing his enlightenment (Levine, 2005, p. 72).

Reference: Levine, G. P. A. (2005). Daitokuji: The Visual Cultures of a Zen Monastery. Seattle: University of Washington Press.

Web resources:

https://journeytothewestresearch.com/tag/monk-baozhi/

我寻找到的第一个例子，是希腊化时期的雕塑The Old Market Woman，我对于其内外关系的观察在于它的破损断面。这些时间所导致的破损不仅物理层面上造成了它内部和外部粗糙质地的差异，还在精神上构成了对雕塑文化内涵的误读和曲解。我对同一个雕塑进行了深入的绘画尝试，还采用音乐的方法去体会那个时代的艺术风格和生活气息。

我寻找到的第二个例子，是佛像的“剺面”行为。这个行为来自于“指剺面门”的故事。这个传说的原型是南朝僧人宝志。相传梁武帝曾使张僧繇为他画像，志公现出了“十一面观音像”，因此他又被认为是观世音菩萨的化身。我觉得这个佛像内部的脸和外部的脸之间的关系非常有意思。然后我还找到了其他佛像内部空间的案例，例如利用X光片，探索佛像的骨架，还有佛像在修缮过程中的场景。还找到了一些对佛像很有理解的现当代艺术家作为参考。

第三个例子是关于中国古代的“裸体”雕塑。裸体雕塑在西方美术史中占有很大的比重，而在中国似乎很少见。根据裸体这个课题。我在图书馆查阅资料时发现，有位学者认为中国古代没有裸体雕塑能够与西方的裸体雕塑相对应，如果一定要找出来一个对应物的话，那在中国的传统文化中应该是奇石。其中典型的代表就是太湖石，这是一种多孔洞的岩石。在这类石头身上，我也看到了作为内外关系的自然联通。并且根据我的调研，也有西方的当代艺术家学习中国的赏石文化，并将这种自然的元素加入到他们的创作当中。

最后提到一个，我还未展开的点就是屏风。屏风这个想法的雏形来自于我一开始的折纸的想法，因为折纸是一种物体内外空间的翻转。当时我的构想是创造一种原创的折纸方式来呈现空间折叠的形式，但是我失败了。所以后面根据折扇的形式，我又联想到了屏风。在中国古代有很多包含屏风的画作，其中我认为最有意思的是《重屏会棋图》。这幅画里有一个屏风中，而在屏风上又画了一个包含屏风的空间。我对于这种内与外的空间关系很感兴趣，可能会在未来继续深入的探讨。

在这次项目的过程中，我还去了三个与雕塑相关的展览，来研究雕塑的外部材料和形式，我从中最受影响的是纺织品的材料和其富含的文化符号。