雕刻與建築的結緣：楊英風與修澤蘭兩個合作案例研究A Dialogue between Sculpture and Architecture: On the Case Study of Arts Works of the Cooperation between Yuyu Yang and Xiu Zelan
Yuyu Yang and Zelan Xiu both were leading artists from the 1960s and represented Taiwan's modernist artistic expression and production. The former is known for prints and sculptures, while the latter is an architect. The two are similar in age and live in a common historical context. Although there are different approaches in art education, they are faced with the same atmosphere and challenges of the times: In the path of modernization of the Republic of China after the war, how can modern art creation with Chinese national characteristics show the spirit of the times and the value of progress at that time, and at the same time enrich the national tradition and cultural connotation? In particular, Yuyu Yang, although a sculptor known to the world, has exerted a lot of energy in the areas of architecture and environmental landscape. He also continues to publish relevant essays, creating a public art form in which sculptures are involved in the environmental landscape, which has a certain influence on contemporary art types. It also challenges the relationship between different artistic expressions such as architecture, environment, sculpture, and landscape.
The cooperation between Yuyu Yang and Zelan Xiu for the construction of the Teachers' Hall at Sun Moon Lake opened the public art model in Taiwan and also continued the cooperation between the two. The artistic expression and content of the cooperation is based on the modernization of the traditional elements of Chinese culture. As the theme, they have created a certain form of traditional Chinese elements.
This article starts with the rich historical data left by Yuyu Yang and attempts to explore how Taiwan in the 1960s articulated modernist artistic expressions through the creative views and records of Yuyu Yang and the two early cases of the Sun Moon Lake Teacher's Hall and the Taichung Teachers' Hall. The image and creative spirit with Chinese cultural characteristics serve as a way to understand Taiwan’s integration with modern art.
Keywords
Yuyu Yang, Zelan Xiu, Modernism, Public Arts, Landscape Sculpture
Yuyu Yang (1926-1997) is one of the most important artists in modern Taiwan history. His stainless steel sculptures and landscape art cannot be ignored when talk about modern sculptures in Taiwan. But his Buddhist statues, which are also very important to Yang, have less discussion by researchers. I would like to talk about Yang’s styles of Buddhist statues first. Yang’s Buddhist statues can separate into two periods, art history period and selfhood period. His artworks of Buddhism also represent the time during martial law when KMT wanted to legitimate the rightness of ruling by emphasizing Chinese culture. When National Museum of History was established in 1950s, Yang received the orders by museum to copy ancient artworks by reason of the lack of collections. Yang’s ancient artwork copies were helped by art historians’ researches. Yang’s Buddhist statues also became a new type of Buddhist statue style in modern Taiwan.
Keywords
Yuyu Yang, Buddhist Art, Buddhist Statues, Orthodoxy, Martial Law Period
Ju Ming is famous for his delicate sculptures, which make him lay a status of an international sculptor. Nevertheless, his another talent–“simple sketch of ink art” is obscure. This thesis tries to focus on his hundreds of pieces works of simple sketch of ink art collected in Juming Museum. By analysing related references and styles, we can discuss Ju Ming’s creating motivation and contexts and realize the specific meanings and influences of those works he created more deeply. Meanwhile, we also try to use trend of thought as a cut-in point to discuss contemporary characteristics of Ju Ming’s simple sketch of ink art works, hoping to supply more researches of Ju Ming’s paintings, enriching the discussion of his creating career.
The author thinks about the particularity of Ju Ming’s simple sketch of ink art works in Taiwanese art circle by organizing the development of Taiwanese ink art in Post-War. Because the related researches of Ju Ming’ graphic paintings are few, this thesis uses Ju Ming’s simple sketch of ink art works as a cut-in point, hoping to build his ink art works a better position by analysing the creating forms and styles. This article is based on those works collected in Juming Museum, discussing the themes and the characters of the daily life aesthetics in Ju Ming’s works. What’s more, we can understand the artist’s pursuing of “Eastern character” and summarize the contemporary characteristics of Ju Ming’s simple sketch of ink art.
Taiwanese ink art has experienced discussion and criticism from several decades before until now. Although Ju Ming doesn’t see himself as an ink artist, he still shows his new styles in the art circle with his passion and effort. He not only creates art, but also records his life, even the truth, the goodness and beauty in the world. With his experiences and thinking, Ju Ming has his own achievements in the art contexts.
Keywords
Ju Ming, Simple Sketch of Ink Art, Taiwanese Art History, Contemporary Character, Aestheticization of Everyday Life
