本文發現：拼貼是朱銘不同於其他立體作品的形式手法，1995年後的拼貼創作，異於學徒時期木作前的草稿演練，與創作前的思考構圖，就如同《人間系列》雕塑，拼貼獨立在畫面上以「人間」主題做自我的抒發。本研究試圖從〈人間大浮雕〉這件作品的視點討論切入，藉由拼貼手法本身的特性，進一步分析朱銘的拼貼畫面，探究朱銘美術館典藏的1995年到2007年間一系列的拼貼作品。打破眾人對其雕塑所熟悉的空間維度，討論「人間」主題多元的面貌，並進一步了解拼貼對於朱銘《人間系列》的重要性。

朱銘、人間系列、拼貼藝術、材質

Collage is a technique differs from the way Ju Ming did most of his other sculpture works. Being more than drafts and sketches like the ones he did during his apprenticeship, the way Ju Ming’s did his collage art after 1995 were just like his sculpture work “ Living World Series”, which he simply uses collage to express himself on the theme “Living World”. By taking a closer look to Living World Relief (人間大浮雕) and the specific quality of collage. This paper focuses on Ju Ming’s collage collection in Ju Ming Museum which he made from 1995 to 2007, trying to analyze the way he arranges his works. Aiming to break the typical thinking people have toward special dimension of sculpture and discussing the various aspect of the topic “Living World” and leading people to understand the importance of collage to Ju Ming’s Living World Series.

Keywords: Ju Ming, Living World Series, collage art, material

　　本文從觀者的角度，探討日治時期裸體畫公開化所引起的社會爭議。日治時期，裸體畫在臺灣成為公開展示的對象，與臺灣傳統社會價值觀產生衝突，殖民當局因此開始進行取締；另一方面，藝術評論家從純藝術的立場進行辯論。臺展中，殖民當局並未嚴格取締裸體畫，入選臺展的裸體畫皆得順利展出。然而，第二回臺陽展舉行時（1936），李石樵〈橫臥裸婦〉一作卻遭到取締，可能並非僅僅是作品本身的問題，而與臺陽展為私人美術團體、審查員皆為臺籍畫家、輿論界認為其與臺展對立等原因相關，意即由於臺陽展的政治不正確，使得殖民當局對於該展中的公開展示的裸體畫作品格外謹慎處理。

臺灣美術史、裸體畫、文化衝擊、李石樵

The thesis aims to discuss the social issues arising from female nude paintings in pubic. During the Japanese colonial period, female nude paintings in pubic resulted in the ruler’s ban and art critics’ debate, but these works were successfully displayed in the Taiwan Fine Arts Exhibition. However, one of Shih-Chiao Li’s female nude paintings had been banned in the 2th of Tai-Yang Fine Arts Exhibition, which shows that the ruler considered female nude paintings in pubic with politics. So to speak, the 2th of Tai-Yang Fine Arts Exhibition playing as a private role, hiring Taiwanese referees, and being regarding as an anti-organization lead to forbiddance of its female nude paintings in public.

Taiwanese art history, nude paintings, cultural shock, Shih-Chiao Li

臺灣雕塑家黃土水（1895-1930），出生於日治時期的臺灣，後來赴日本學習近代雕塑，並且入選日本官展。黃土水當時在日本雕塑界相當活躍，以具有臺灣特色的題材為創作主題，成為了臺灣近代美術之先驅。作為最早的臺灣近代藝術家，關於黃土水研究，1980 年代之後在臺灣已經有相當的研究成果和討論。但是，由於資料的限制，以往研究缺少細緻分析黃土水作品與日本近代雕塑之潮流，以及東京美術學校裡的雕刻教育之間的關係。本文以這次新發現的一、二手資料為基礎，探討黃土水在日本留學時期的早期活動，以黃土水所學習的「近代雕塑」之內容和背景，試圖完整且正確地把握他的創作生涯。
黃土水在東京美術學校裡，一方面認真從事以高村光雲為主導的，江戶時代以來之木雕修練，一方面學習如雕塑、西洋雕刻家的大理石石雕等，積極學習西方雕塑之新技術。到日本留學之前，黃土水已經具有臺灣漢人文化的傳統背景，然而，他面對日本大正時期雕塑界的變化，也開始摸索具有現代性的臺灣主題。明治時代以來，日本近代美術史重視日本古代佛像藝術，這也可能是1920 年代初，黃土水在文章中否定臺灣過去的文化，並主張臺灣藝術現代化的背景之一。然而，黃土水這樣的主張，某方面和當時的日本對於「臺灣文化」的言論有了表面上的相似。黃土水的創作活動中所追求的，也是期望建立有臺灣特色的藝術。但是，這些追求現代性
和臺灣特色的言行，也具有和日本統治者的看法相同的共通點。黃土水一方面因為在日本帝展舞臺上展示有臺灣特色的作品而受到肯定，但另一方面也可以認為是，臺灣在帝國絕對的優勢下，這些活動符合了臺灣作為一個「地方」收歸於帝國內部的過程。

黃土水、帝展、日本近代雕塑、東京美術學校、臺灣文化

Taiwanese sculptor Huang Tu-Shui (1895-1930) was born in Taipei under Japanese rule. He went to Japan to study modern
sculpture and he was selected for the Imperial Art Exhibition in Tokyo. He not only succeeded in the world of sculpture at that time in Japan, but, as he chose Taiwanese motifs for the main subjects in his creations, Huang Tu-Shui was also a pioneer in Taiwanese art. As one of the earliest modern Taiwanese artists, studies and discussion of Huang Tu-Shui have already developed to a certain extent in Taiwan, especially since the 1980s. However, due to the limitations of materials and records, past studies were not able to fully analyze the relationships between Huang Tu-Shui's works and the elements of Japanese modern sculpture or the influence of his education in sculpture at the Tokyo Fine Arts School. This paper, based on several primary and newly found secondary sources, inquires into Huang Tu Shui's early activities during his school days in Japan, as analyzing the background and substance of the "modern sculpture" that he studied, aims to accurately comprehend his artistic career.

At the Tokyo Fine Arts School, Huang Tu-Shui worked some in the study of traditional Edo-style wood sculpture begun by
Takamura K un, simultaneously also learning the skills of western-style sculpture, such as modeling in clay and sculpting in marble. Before he came to Japan, Huang Tu-Shui was close to traditional Chinese culture in Taiwan, but when he faced changing trends in Japanese sculpture, he also began to seek more modern Taiwanese motifs. From the beginning of Japanese modern art history in the Meiji era, ancient Japanese arts and sculpture were greatly respected; this might be the appropriate background for the consideration of Huang Tu-Shui's denial of the Taiwanese culture of the past and advocacy of the modernization of Taiwanese art at the beginning of the 1920s. This attitude of questing modernization and seeking out of characteristics of Taiwan in the fine arts was similar in certain aspects to the attitudes of some Japanese intellectuals during the colonial period. Huang Tu-Shui exhibited several works having Taiwanese motives in the Imperial Art Exhibition and came to prominence. On the other hand, in Taiwan under the dominance of the Imperial Japanese forces, his activities also were in accord with the process that Taiwan was included in the Japanese Empire as one of its regions.

Huang Tu-Shui, Imperial Art Exhibition, Modern
Japanese Sculpture, Tokyo Fine Arts School, Taiwanese
Culture

二次戰後美國成為世界藝術的中心，佔有很重要的領導地位，是藝術家的聖地，所以，美國也是朱銘心中認定必要去的地方。1980年朱銘前往美國紐約奮鬥，這次的旅程是朱銘踏出國際非常重要的一步，對他往後的發展意義重大，但目前這方面的研究卻很少。
本文透過從澳洲國立美術館研究圖書館徵得之收藏紀錄和文件，也就是朱銘在美國的畫廊經紀人麥克斯‧漢查森先生所開設多家藝廊的資料，以及朱銘美術館朱銘資料室所保存之朱銘的私人信件等資料，還有透過和朱銘的訪談，試圖將這段幾乎空白的歷史交待清楚，並進一步探討這段時期對朱銘的意義與影響。

朱銘、雕塑、美國紐約、臺灣美術、漢查森畫廊

The United States became world's art center after WWII. It is a shrine to many artists. Ju Ming also believed in his heart that he had to go there some day. In fact, he headed toward New York in 1980 and pursued his art career there. This journey was a very important step for Ju Ming in terms of his going international. It also had significant impact on his later art creation. Yet there is not much research on this period.

This paper looks at this rarely-mentioned period by examining collection records and documents borrowed from National Gallery of Australia Research Library Archives, i.e., information of the many galleries opened by Max Hutchinson, who was Ju Ming's art agent in the United States, personal letters of Ju Ming archived in Juming Museum, and interviews with Ju Ming to better understand this period and further discusses the meaning and influence this period has on Ju Ming.

Ju Ming, sculpture, New York, Taiwanese Art, Max
Hutchinson Gallery

　　現代即「摩登」，在日治時期是modern 的直譯，指涉日常生活風格、建築與設計、計劃與系統等等現代的呈現，和傳統或民俗有相對的意思，同時是西式、新潮的指涉。臺灣歷史中的「摩登」概念成為現代化與殖民現代性研究的另類考。風景畫的興起和現代性有密切的關係，而臺灣風景畫的發展有著前述殖民的現代性情境。風景畫除了描繪美景，還能展現一種視覺上的宣稱：對特定主題、地域、人與物、自然元素、構圖等等的特定再現，顯示某種偏好與關注，例如現代建物、特殊圖騰。類似這種現代化的設施在臺灣風景畫中成為不可或缺的視覺符號。它們反覆出現，宣告了新式生活環境的到來，這種特殊的視覺展現成為一種「摩登奇觀」。日治時期臺灣藝術家大量地納入現代化設施於畫作之中，陳澄波雖不能說是第一位或唯一者，但可說是最「執迷不悟」的畫家。他對電線杆的描繪在於強調構成的特性：帶有導引的功能與戲劇性的效果，因此有著特別醒目的視覺焦點。在取景入畫的過程中，自然與文化融合成新的美感秩序。然而，這種題材的取用，除了描繪現代化的臺灣地景以及地方認同感的營造之外，也指向陳澄波的內在創作探索：運用電桿等現代建物與自然物件的線條特性開創畫面中更複雜的「空間皺褶」，以容納其風景的空間敘述以及風景構圖的研究計畫。電桿因此有符號與形式的雙重意涵：前者是透顯臺灣風景的現代性，後者是藝術創作者最關心的空間營造議題。

陳澄波，摩登（現代），殖民現代性，奇觀，風景圖式

The pronunciation of "modeng" in Chinese is the transliteration of English "modern", referring modern revelation of daily life style, architecture and design, plan and system etc. Moreover, it is opposite to tradition and custom, also signifying the western and the new. In Taiwanese history, the concept of "modeng" becomes another thinking of modernization and colonial modernity. The rising of landscape painting is germane to modernity and the development of Taiwanese landscape painting reflects such
condition of colonial modernity. Except delineating beautiful view, landscape painting reveals a visual assertion: for the specific topic, area, people and matter, natural elements, composition etc, showing a kind of preference and concern, such as modern architectures and special totems. This kind of modern facility in the Taiwanese landscape painting becomes an indispensible part of visual signs. They repeatedly appear to us, announcing the coming of new life which becomes a "modern spectacle". Incorporating modern facility in painting by the Taiwanese artists in the colonial period, Chen Cheng-po perhaps is not the only one or the first one; however, he is regarded as one of the most "stubborn" painter. His fascination on electric poles emphasizes the characteristics of composition: An ushering function and dramatic effect, as such, containing an eye-catching visual focus. In the process of taking scenery into painting, nature and culture merge as a new aesthetic order. Nevertheless, except describing modern Taiwanese landscape and the sense of local identity, such appropriation of subject also points Chen's inner exploration of creation: Appropriating modern facility such as the linear characteristics of electric poles and natural objects to create a more complicated "space fold", for holding the space narratives of landscape and the research project of landscape composition. Electric poles therefore possess the double meaning of sign and form: The former reveals the modernity of landscape painting, the latter, the issue of space design which the artist concerns most.

Chen Cheng-po,"modeng"(modern), colonial
modernity, spectacle, landscape scheme

　　形式主義最初是在20世紀初期奠定其作為藝術史學科中重要研究方法的地位，然而，隨著20 世紀晚期跨領域研究的趨勢，形式主義所關注的議題也從藝術品自身轉向揭示藝術品與社會中，例如階級、種族、及性別等多元現象之間的關聯。本研究是以文藝復興早期雕塑家多納太羅的兩件〈大衛〉雕塑為材料，將藝術品視為社會文化意識昇華後的思緒結晶，藉此透過雕塑品的風格形式，探究文藝復興時期藝術品與社會不同階層群體之性別及情慾意識。
本文是以形式主義的論點切入，並參考當代學者大衛‧桑默斯，以及惠特尼‧戴維斯兩人對藝術品形式風格和性別議題辯證論述的形式主義理論為基礎。桑默斯的理論關注藝術創作概念中使用修辭學「對立」形式以增添作品輪廓多元化，此概念促發筆者察覺多納太羅雕塑品中符合此論點的對立形式結構。另一方面，戴維斯則是注重藝術形式在社會結構脈絡中的闡釋與解讀，並認為藝術形式中的性別元素皆是社會語言結構的具象呈現。戴維斯的理論讓我得以比較兩件主題且形式結構相似的〈大衛〉雕塑，因為擺設地點不同，被重新編碼賦予的多層意義。透過兩種閱讀藝術形式的切入角度，本研究將〈大理石大衛〉以及〈青銅大衛〉與展示場域的社會脈絡融合，並提出〈大理石大衛〉的形式設計是針對公共的宗教場域，且擺設地點位於政治象徵意味濃厚的宮殿會議室，因此其性別特徵更切合社會中的傳統男性視線。而透過比較兩件作品形式中性別特徵表現手法，以及其擺設地點的差異，進而論述〈青銅大衛〉作品中與社會中酷兒觀看主體的性別情慾凝視間的連結。

多納太羅、大衛像、形式分析、同性情慾、酷兒理論

The formalism study was first developed as an academic discipline in the early twentieth century; however, along with the cross-disciplined design since late twentieth century, it has turned into an approach revealing the formal structure between artwork and other social phenomena such as social hierarchy, ethnics, and gender. In this paper, I explore two early Renaissance David sculptures by Donatello. My attempt is to investigate sexual desire through the formal configurations in terms of sublimation of cultural identity underpinning hitherto socio-cultural reality, searching for the centripetal force consolidating the gender in the Renaissance society.

The methodology of this paper is based on two studies: "Form and Gender" by David Summers (1993), and "Gender" by Whitney Davis (1996). On the one hand, Summers' theory helps me to observe how Donatello transfers the rhetorical skill, antithesis, into the formal design of sculpture. On the other hand, Davis analysis is supportive to read artwork in the social fabric synthetically; moreover it allows me to investigate the gendering elements in two David statues. After comparing the formal elements in two David statues along with their displaying locations during the Renaissance, I suggest the masculinity in Marble David is correlated with its religious purpose and the public symbol of the government; and the androgynous figure of Bronze David is not ascribed to Donatello's homosexual tendency; instead, it is a visual evidence of the queer subject in the fifteenth century Florentine social fabric.

Donatello, David, Formal Analysis, Homoeroticism, Queer Theory