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題 名 | 陳夏雨、楊英風與戰後臺灣現代雕塑的起源=Chen Hsia-yu, Yang Ying-feng and the Origins of Modern Sculpture in Postwar Taiwan |
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作 者 | 江如海; | 書刊名 | 現代美術學報 |
卷 期 | 7 2004.05[民93.05] |
頁 次 | 頁95-129 |
分類號 | 930 |
關鍵詞 | 陳夏雨; 楊英風; 臺灣現代雕塑; 半具象造型風格; 空間觀念; Chen Hsia-yu; Yang Ying-feng; Modern Taiwanese sculpture; Semi-figurative plastic style; Spatial aspect of sculpture; |
語 文 | 中文(Chinese) |
中文摘要 | 本文以歐美現代雕塑的形式觀念為主軸,藉由戰後初期臺灣美術展覽活動的歷史考察,與代表作家典型風可及其相互關係的探討,特別是以陳夏雨、楊英風的雕塑觀念為座標,討論臺灣現代雕塑在戰後由寫實至抽象的風格發展歷程。在這段轉變過程中,透過蒲添生、陳夏雨創鷹觀念的對照、作品主題與形式的比較,突顯出陳夏雨所扮演的開創性角色。陳夏雨的作品,透過具象的人體題材,表現出具有現代?識、強調造型思維的雕塑創作觀念;他也透過私人教學,影響與刺激戰後強調半具象的造型風格思潮。臺灣省全省美術展覽會、臺陽美術展覽會雕塑耜的活動,並未積極鼓勵雕塑風可與形式的創新,竑而是以陳英傑為首的臺南美術研究會,在歷屆的雕塑展覽中推動這股現代造型風格的發展。另一方面,楊英風以「中國藝術精神」為內涵的造型與空間觀念,在「現代版畫會」、「五月畫會」抽象風格的影響下,創作戰後首批抽象雕塑作品。楊英風以「書法」美學概念為基礎的抽象雕塑創作,在空間觀念不僅發展了陳夏雨所強調的雕塑造型概念,也超越以歐美現代藝術為借鏡的創作思維。 |
英文摘要 | Informed by Euro-American formalism, this essay seeks to examine the transformation of modern sculpture from a realistic manner to an abstract style in early postwar Taiwan. This will be accomplished through a discussion of the work of Chen, Hsia-yu and Yang, Ying-feng, through an investigation into the activity of exhibitions and an examination of the relationships between various styles of representative between various styles of representative sculptors. In this transformation Chen played a crucial role in comparison with the content and form of Pu, Tian-sheng’s sculpture. Chen expressed a sense of modernist and formal structure in figurative themes and influenced sculptural creativities towards various plastic forms and a semi-figurative style. The Tainan Art Institute leaded by sculptor Chen. Ying-chieh achieved success in advocating the modern plastic style, while the other two major exhibitions, Taiwan Provinical Exhibition and Tai-Yang Art Society, remained conservative. On the other had, under the influence of abstraction promoted by the Modern Print Group and the Fifth Moon Painting Group, Yang applied the ideas of plastic art and spatial aspects derived from “Chinese art” in his sculptural formation. He made the first series of abstract sculpture in the postwar ear. Based on the aesthetic concepts of “Chinese calligraphy”, he not only surpassed the ideas of formal structure developed by Chen but also formed a sculptural view beyond Euro-American modernism. |
本系統中英文摘要資訊取自各篇刊載內容。