The difference between stone carving and relief is its relative plane and three-dimensional. Its spatial form is the so-called compressed space between the two-dimensional virtual space of painting and the three-dimensional solid space of circular stone carving. Compressed space limits the free development of relief space. With the support of plane background, the solid feeling of circular stone carving is weakened, and more use of the virtual and illusion of painting to achieve the purpose of performance. Compared with round stone carving, relief carving is mostly based on the principle of painting to deal with the relationship between space and form.

然而，在反映審美形象的中心追求中，浮雕與圓圈完全一致，不同形式的手段只表現(xiàn)出一定的外觀。浮雕作為雕塑藝術(shù)的一種類型，表現(xiàn)出雕塑藝術(shù)的一般特征，即浮雕藝術(shù)的審美效果不僅吸引視覺和觸覺。同時(shí)充分發(fā)揮繪畫藝術(shù)在構(gòu)圖、主題和空間加工等方面的優(yōu)勢，展示出事件和人物的背景和環(huán)境、敘事情節(jié)的連續(xù)性和轉(zhuǎn)換、時(shí)空角度的自由切換、復(fù)雜多樣的對(duì)象的插入和重疊等不能代表石雕的內(nèi)容和對(duì)象。

However, in the central pursuit of reflecting the aesthetic image, relief and circle are exactly the same, and different forms of means only show a certain appearance. As a type of sculpture art, relief first shows the general characteristics of sculpture art, that is, the aesthetic effect of relief art not only attracts vision and touch. At the same time, it gives full play to the advantages of painting in composition, theme and space processing, and shows that the background and environment of events and characters, the continuity and transformation of narrative plot, the free switching of space-time angle, the insertion and overlapping of complex and diverse objects can not represent the content and objects of stone carving.
             

空間壓縮度的選擇應(yīng)考慮物體的功能、主題、環(huán)境位置和光線，其中環(huán)境和光是決定性的。雕刻家總是能處理好這些關(guān)系，從而達(dá)到良好的視覺效果。

The choice of space compressibility should consider the function, theme, location and light of the object, in which the environment and light are decisive. Sculptors can always deal with these relationships to achieve good visual effects.

在表達(dá)審美思想感情的基本原則下，不同形式的救濟(jì)具有藝術(shù)性的適應(yīng)性。一般來說，高浮雕具有較大的空間深度和較強(qiáng)的可塑性，賦予其情感表達(dá)形式一種莊嚴(yán)、穩(wěn)定、嚴(yán)肅、濃厚的效果和宏偉的氣氛;淺浮雕是一種流動(dòng)的線條和多點(diǎn)切割的平面圖形構(gòu)成，傳達(dá)著輕輕的音樂般的和平與心境和抒情詩意的浪漫柔情。

Under the basic principle of expressing aesthetic thoughts and feelings, different forms of relief have artistic adaptability. Generally speaking, high relief has great space depth and strong plasticity, giving its emotional expression a solemn, stable, serious, strong effect and grand atmosphere; low relief is a kind of flowing lines and multi-point cutting plane graphics composition, conveying light music like peace and mood and lyric poetic romantic tenderness.

隨著雕塑藝術(shù)的發(fā)展，石雕的相對(duì)獨(dú)立性日益加強(qiáng)，然而，盡管浮雕更多地受到對(duì)平面或墻壁的依賴，但其獨(dú)特的表現(xiàn)特征和豐富的石雕手段仍然是不可替代的。此外，其審美特征在推動(dòng)現(xiàn)代藝術(shù)革命的同時(shí)也日益增強(qiáng)其相對(duì)獨(dú)立性。對(duì)固定墻的依賴和適應(yīng)性不再像對(duì)現(xiàn)代救濟(jì)的古典救濟(jì)那樣強(qiáng)大、剛性和不可動(dòng)搖。對(duì)于現(xiàn)代浮雕來說，墻作為一種載體或環(huán)境是自由和可選的，因此它有著廣闊的自由發(fā)展空間。

With the development of sculpture art, the relative independence of stone carving is increasingly strengthened. However, although relief is more dependent on plane or wall, its unique performance characteristics and rich stone carving means are still irreplaceable. In addition, its aesthetic characteristics promote the modern art revolution, but also increasingly enhance its relative independence. The dependence and adaptability to the fixed wall is no longer as strong, rigid and unshakable as the classical relief to the modern relief. For modern relief, the wall as a carrier or environment is free and optional, so it has a broad space for free development.