本文以歐美現代雕塑的形式觀念為主軸，藉由戰後初期台灣美術展覽活動的歷史考察，與代表作家典型風格及其相互關聯的探討，特別是以陳夏雨、楊英風的雕塑觀念為座標，討論台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、陳夏雨創作觀念的對照、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，表現出具有現代意識、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。台灣省全省美術展覽會、台陽美術展覽會雕塑部的活動，並未積極鼓勵雕塑風格與形式的創新，反而是以陳英傑為首的台南美術研究會，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，在空間觀念上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。
陳夏雨 ，楊英風，台灣現代雕塑，半具象造型風格，空間觀念
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.
Chen Hsia-yu, Yang Ying-feng, modem Taiwanese sculpture, semi-figurative plastic style, spatial aspect of sculpture
