对雕塑的欣赏，取决于人对三维形态作出感知回应的能力。
Appreciation of sculpture depends upon the ability to respond to form in 3 dimensions.
这或许就是雕塑被称为一切艺术中最难欣赏的艺术的原因；它确实比那些只涉及对平面形态——仅具二维的形状——的欣赏的艺术更难。
That is perhaps why sculpture has been described as the most difficult of all arts; certainly it is more difficult than the arts which involve appreciation of flat forms, shape in only two dimensions.
"形态盲"的人远比"色盲"的人多。
Many more people are 'form-blind' than colour-blind.
正在学习观看的孩子，起初只能辨别二维形状；它无法判断距离与深度。
The child learning to see, first distinguishes only two-dimensional shape; it cannot judge distances, depths.
后来，出于自身安全和实际需要，孩子不得不（部分借助触觉）发展出对三维距离作出粗略判断的能力。
Later, for its personal safety and practical needs, it has to develop (partly by means of touch) the ability to judge roughly 3-dimensional distances.
然而，一旦满足了实际需要的要求，大多数人便不再更进一步。
But having satisfied the requirements of practical necessity, most people go no further.
尽管他们或许能以相当高的精准度感知平面形态，却并未付出进一步的智性与情感努力，以理解形态在其完整的空间存在中的面貌。
Though they may attain considerable accuracy in the perception of flat form, they do not make the further intellectual and emotional effort needed to comprehend form in its full spatial existence.
这正是雕塑家所必须做的。
This is what the sculptor must do.
他必须持续不懈地去思考、去运用形态在其完整空间性中的存在。
He must strive continually to think of and use, form in its full spatial completeness.
他在脑海中把握住那个立体形状，可以说，无论其大小，他都好像是将它完全握在手掌的凹陷中，将其完整包覆着。
He gets the solid shape as it were, inside his head--he thinks of it, whatever its size, as if he were holding it completely enclosed in the hollow of his hand.
他在心理上从各个角度对一个复杂形态进行立体想象；当他审视一个侧面时，他已知晓另一侧面的模样；他将自身与形态的重心、质量、重量融为一体；他将其体积感知为该形状在空气中所排开的空间。
He mentally visualizes a complex form from all round itself; he knows while he looks at one side what the other side is like; he identifies himself with its centre of gravity, its mass, its weight; he realizes its volume as the space that the shape displaces in the air.
而对雕塑敏感的观赏者，也必须学会将形状纯粹地作为形状来感受，而非将其视为某种描述或回忆的载体。
And the sensitive observer of sculpture must also learn to feel shape simply as shape, not as description or reminiscence.
例如，他必须将一枚鸡蛋感知为一个简单、单一的立体形状，完全撇开它作为食物的实用意义，或者它将孵化成鸟这一文学性联想。
He must, for example, perceive an egg as a simple single solid shape quite apart from its significance as food, or from the literary idea that it will become a bird.
同样的道理也适用于其他立体形态，如：贝壳、坚果、李子、梨、蝌蚪、蘑菇、山峰、肾脏、胡萝卜、树干、鸟类、花苞、云雀、瓢虫、香蒲、骨骼。
And so with solids such as a shell, a nut, a plum, a pear, a tadpole, a mushroom, a mountain peak, a kidney, a carrot, a tree-trunk, a bird, a bud, a lark, a ladybird, a bulrush, a bone.
在此基础上，他便能进而欣赏更为复杂的形态，或由多种形态组合而成的复合体。
From these he can go on to appreciate more complex forms or combinations of several forms.