spiritual leanings. Cai’s works also have the spiritual qualities of ancient Egyptian and Mayan stone carving. These two carving languages emphasized the sacred transformation of normal people or objects through the language of form, and have a strong sense of spiritual belonging. The perfect combinations of separate plates and colors show us a move from the spiritual profundity of history to modern deconstruction and reconstruction. The use of fabric texture and the visual traits of the lines in clothing show us Chinese linguistic cultural traits and folk pottery craft.
But these familiar appearances, under his fingertips, are different. Why is that? Part of my answer is that this is his spiritual pursuit.
There is another professional trait in Cai Zhisong’s language of sculpture – the trait of monumental sculpture. The abovementioned sculpting languages, the ancient Chinese Buddhist sculpture, the ancient Egyptian and Mayan sculpture and the sculpture of Maillol all emphasize the linguistic traits of monumental sculpture. In his process of learning sculpture, Cai had a long period of training and work experience in monumental sculpture. During his student life, he had the good fortune of engaging in creation with the best sculptors in China, drawing nourishment from working at their side. Add the careful guidance of his artistic elders and his own dedicated research, and it all accumulated into rich powers of expression which exploded once his creative spirit could no longer be contained.
He had a strong desire to speak, and he began with the spiritual language of the Book of Poetry: ‘airs, festals and odes’, a linguistic trait of the human spirit manifested in the Chinese land. In artistic languages, some artists excel at raising questions,
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