陳夏雨、楊英風與戰後台灣現代雕塑的起源

Abstract

Informed by Euro-American formalism, this essay seeks to examine the transformation of modem 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 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 modem plastic style, while the other two major exhibitions, Taiwan Provincial Exhibition and Tai-Yang Art Society, remained conservative. On the other hand, 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 era. 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.