福建雕塑藝(yi)術(shu), 尤其(qi)是(shi)現代(dai)抽象(xiang)雕(diao)(diao)(diao)塑藝(yi)術(shu), 對于現代(dai)建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)語(yu)言的(de)(de)(de)影響是(shi)極其(qi)深遠(yuan)和根深蒂固的(de)(de)(de)。雕(diao)(diao)(diao)塑給(gei)予了(le)(le)建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)靈魂(hun), 讓建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)更象(xiang)雕(diao)(diao)(diao)塑、更象(xiang)紀(ji)念(nian)碑(bei)、建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)更具視覺沖擊力(li), 有些建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu), 甚至直(zhi)接追求雕(diao)(diao)(diao)塑語(yu)言。建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)與(yu)環境更離(li)不開雕(diao)(diao)(diao)塑作(zuo)品(pin)的(de)(de)(de)襯(chen)托, 雕(diao)(diao)(diao)塑藝(yi)術(shu)品(pin)在建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)中起到(dao)了(le)(le)畫龍(long)點睛的(de)(de)(de)作(zuo)用(yong), 雕(diao)(diao)(diao)塑讓建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)更具環境包容(rong)與(yu)公(gong)共認知。雕(diao)(diao)(diao)塑給(gei)了(le)(le)建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)美的(de)(de)(de)語(yu)言、高(gao)尚的(de)(de)(de)靈魂(hun), 建(jian)(jian)(jian)(jian)(jian)(jian)筑(zhu)(zhu)(zhu)(zhu)給(gei)了(le)(le)雕(diao)(diao)(diao)塑生存的(de)(de)(de)理由。

      從藝(yi)術的(de)視角看, 福建雕(diao)塑(su)(su)(su)與(yu)繪(hui)畫(hua)同源(yuan)。雖然, 早期的(de)雕(diao)塑(su)(su)(su)并(bing)不是(shi)創(chuang)作者的(de)純(chun)粹的(de)藝(yi)術創(chuang)作, 早期的(de)雕(diao)塑(su)(su)(su)是(shi)追隨一(yi)定(ding)的(de)功能性的(de), 多與(yu)祭祀(si)活動有關。然而, 當雕(diao)塑(su)(su)(su)逐步發(fa)展成為純(chun)藝(yi)術, 并(bing)走上(shang)藝(yi)術道路的(de)正軌, 雕(diao)塑(su)(su)(su)創(chuang)作與(yu)繪(hui)畫(hua)一(yi)樣占(zhan)據了人類意識形(xing)態領域(yu)的(de)前沿(yan), 并(bing)發(fa)揮著重要的(de)引領作用(yong)。這一(yi)點主要體現在雕(diao)塑(su)(su)(su)藝(yi)術的(de)形(xing)式語言上(shang)。