The Human form was the critical text of Renaissance's visual art, the claim of representing the human body by imitating nature was common among many artists' and theorists' contentions. The actual study of real human form, and thorough analyze of the organic structure and operations of the physical system were important subjects for artists, especially for sculptors, at that time. Michelangelo endeavored to express the human body, and was also devoted to anatomy. However, botmh ale and female figures of Michelangelo were all in a muscle-exaggearted, and muscularly hero stereotype that received opposing reviews on his use and knowledge of anatomy, as well as the way he depicted male and female bodies. This article explores this controversial issue by the following two aspects: "the investigation and transcend of anatomy" and "the alienation of gender stereotype," to examine that with the trend of imitating nature, how Michelangelo's representations were based on nature while transcending it, and inaugurated the unique form and style of the body representation that approved his artistic creativity, also emphasizing the delicate relationship between "imitation" and "creation."
痛苦的美學——溫克爾曼古典希臘雕刻修辭學Pain aesthetics - The Winckelmann's rhetoric on the Classical Greek Sculpture
摘要
溫克爾曼被視為美術史學之父，其論著《希臘美術模仿論》（Gedanken über die Nachahmung der griechischen Werke in der Mearleiund Bilidhauerkuns，1755）與《古代美術史》（Geschichte der Kunstedes Altertums，1764）影響美術史學的成立。本論文目的在於研究溫克爾曼對古代雕塑的描述手法，以〈勞孔群像〉為例，特別集中於古典希臘美術作中的痛苦美學，從中探索激情與痛苦的辯證以及古代修辭學「帕倫蒂索斯」等課題。首先我們將敘述古代希臘美術特質，集中於釐清痛苦美學的本質。其次就痛苦與激情之間進行反省。最後則對於「帕倫蒂索斯」的修辭學語意在文藝與雕刻上的可能侷限。
關鍵字
溫克爾曼、痛苦美學、激情、帕倫蒂索斯
Abstract
Wickelmann is known as the father of art history. His books, Gedanken über die Nachahmung der griechischen Werke in der Malreei und Bilidhauerkunsdt and Geschichte der Kunste des Altertums, affect the establishment of the art history. The issue of my thesis will study the description by Winckelmann on the Classical Greek Sculpture, for example Laocoon. We will practically focus on the pain aesthetcis. Through pain aesthetics, we will explore the dialectic of pasosin and pain as well as the ancient rhetoric Parenthysos.
Firstly, we will describe the characteristic on ancient Greek Art, focusing on clarifying the nature of pain aesthetics. Secondly ,we will try study the relationship between the pain and passion. Finalyl , we will try to study the use of the rhetoric Parenthysos on the literature and sculpture.
Yen Shui-long's modern craft movement in post-war Taiwan has long been assayed by the perspective of 'art creation' tended to highlight the artist's ambitions instead of locating the movement in the real historical context. In this article, I try to sketch his activity in contrary to official handicraft policy and cultural ideology in 1950s.
Yen was working successively in The Committee of Handicraft Production and Promotion (CHPP), The Nantou Handicraft Workshops (NHW) and The Handicraft Promotion Center (HPC), all of which were under the Construction Bureau, Taiwan Province. Although Yen was devoted his modernism idea in those institutes, the main concern of official handicraft policy was social assistance, not artistic education.
In this period, economical resources in Taiwan were exploited by KMT military forces for supporting them to retake mainland china, and handicraft policy was expected to solve the unemployment problems mainly resulted from the Chinese refugees due to KMT government's retreating from China. Furthermore, much effort of the government was to rescue the Chinese workers, not local Taiwanese industrial craft, let alone building a handicraft school.
Under the circumstances, Yen Shui-long's hope to build a craft educational institute could only be restricted to a contingency plan and finally end in vain. His dedication to handicraft in NHW was used as a progressive facade of a conservative totalitarian government. NHW's products were used as exhibits in domestic exhibition for displaying the modernization of Taiwan handicraft, in order to attract local foreign consumers.
However, when those exhibits came to foreign exhibition, the exhibits' modernism style was suppressed by exotic 'chinoiserie' style from other 'pseudo-antique' exhibits, which resulted ironically from the political ideology of displaying 'the glory of Chinese cultural heritage' to attract foreign investment.
Keywords
The Committee of Handicraft Production and Promotion (CHPP), The Nantou Handicraft Workshops (NHW), The Handicraft Promotion Center(HPC), handicraft exhibition, Yen Shui-long, Foreign aid, Total Mobilization Movement
Ju Ming is a popular art sculptor. "The Ju Ming Museum", in which Ju Ming's masterpieces display everywhere, is located in the mountainous areas of beautiful King Mt. Township. Ju Ming was born in poor family. For his no interest in study at school from an early age,her mother had to send him to learn sculpture and art. Knowing about his mother's difficulties, Ju Ming are determined with more effort to learn carving from Master Li Jinchuan. At the time he was 19 years old, as a familiar crafter in carved arts, but Ju Ming was not satisfiedw ith his own works.
Hoping to break through his skill of work, at the age of 30 years, Ju Ming thanks to sculptor Yang Ying-Fung as his teacher, and he starts again from the sweeping, tea-making in studio. He often immersed in the master techniques and styles by watching the teacher's manner to sculpture. In the learning process, teacher Yang once said to him: "art should require new content, new spiritual expression". This sentence is firmly keeping in Ju Ming's mind. Thus, he gave up his fine style of carving chisel, replacing it with a natural, simple manner and showed his works in simple cuts.
In 1976, Ju created the historic personages, folk tales as his theme, and when these works with folk tales and Buffalo of the soil exhibited in the National Museum of history, great sensation caused the art community. Although Ju Ming was approving of everyone, he still wants to further breakthroughs. when Ju Ming didn't want to be just a carpenter of only carving Kuan Kung and Buffalo, he continued to explore experiment, looking for a new theme. Later he was learning Tai Chi philosophy from practicing the kungfu Tai Chi, and he created a Ti Chi master by bronze casting, demonstrating Tai Ch“i soft over steel" style. The works of "Tai Chi series" stands in van Gogh square of Parsi, and reflect each other with Louvre art. Ju Ming's works are always innovative in themes, and continued trying in different materials. His insight, vision and spirit of concentration on creating, finally he got at the peak of sculpture creation, become a world-renowned artist.
Keywords
Ju Ming, Wood Carving Citizen Series, Human Condition, Pop Art, Glocalization
The opposition between abstraction and realism is a major subject in art. The sculpture of Ju Ming was dominated by the realism ni the very beginning (including the“ Native series” and even earlier works), and started to try the abstraction under the inspiration of modern art. The evolution from the two earliest versions of Taichi-Single Whip Series carved in 1976, to the "Museum" version cast in 1986 and exhibited nowadays in the Ju Ming Museum, as well as theL iving World Series, are all results of the process of abstraction. Without takingn ito account works other than the Taichi-Single Whip Series, this process did not evolve to practice total abstraction in the end. The "museum version" contains therefore at the same time elements of realism and abstraction in it, without stopping being a masterpiece. It incites us then to inquire into the distinction between abstraction and realism. Without taking into consideration more abstract works such as the Taichi Arc, this paper will attempt to clarify the roles abstraction and realism, if they may seem to be two absolutely distinct ways of creation, can play separately or in cooperation in the artistic creation. After elucidating briefly the sense of "realism" and "abstraction", we will retrace comments made by critics on Taichi-Single Whip Series, in order to understand the evolution of its two critical stages and impressions products of each stage might bring to spectators. In consideration of the obscurity of the meaning of the "Taichi spirit", the analysis will have as point of view a general theme in sculpture: the gravity, to examine how realism and abstraction cooperate in the creation of artistic experience of gravity in sculpture. The paper will then proceed to investigate if an abstraction of higher degree would hinder the Single Whip from expressing a sentiment of naturalness instead of artificiality.
Discussion on the Body Meaning of Anotony Gormley's Field and Another place
摘要
葛雷姆（Antony Gormley, 1950-）為英國藝術家，在當代雕塑中為重要的雕塑家，1994年以〈英倫諸島的土地〉（Field for the British Isles）得到英國的泰納獎，此後作品開始受到矚目，葛雷姆較為人常知的作品，主要以自身的身體雕塑，站立在各個場域的型態受到注意，其作品與身體、時間和空間具有非常重要性的聯繫，除此之外與公共、私人的界線也有關聯，此文章主要探討葛雷姆在亞洲中國實踐的〈土地〉（Field）以及〈另一個地方〉（Another place）兩件作品，前者在過程中需要參與者的合作才得以完成，存在而呈現，後者則是藝術家最為人知的作品型態，地點則是在英國的克羅斯比（Crosby）海灘。兩件作品的共同之處即是由身體為起始，同時與地點空間息息相關，因此以身體串連整篇文章的論述。身體的運動必會觸及痕跡的留存以成為記憶，因此作品〈土地〉和〈另一個地方〉中由身體開始，是如何扮演著重要的角色？以及如何聯繫至地點、記憶及痕跡。〈土地〉若沒有參與者運動的身體製作即無法構成如此龐大數量、壯觀的作品，並且同時藉由參與者的身體、身分和地方來探討全球化架構底下的農民、學生；而〈另一個地方〉的地點是在海濱區域，由藝術家的身體建構為基礎，這些雕塑成為來訪遊客的偶然性事件。透過此兩件作品討論藝術家如何透過身體作品與整體環境交互作用創造出中介（in-between）場域，以表達作品的藝術姿態。
關鍵詞
Antony Gormley、身體、地點、空間、雕塑、痕跡
Abstract
Antony Gormley (1950-)is a contemporary British sculptor. He was awarded the Turner Prize in 1994 for Field for the British Isles. And then much public attention has been focused on him work. Atnony Gormley is known for using body sculpture in the public space . His work relates to the body, time, space, and boundaries between public and private. This article aims at discussing Field and Another place. The former was completed in China by not only the artists, but also many participants. The latter locates in Crosby beach of England and represents artist's work type. Gormley makes both sculptures from the body. Then the sculptures possess simultaneous relationship with location and space. First I begin the discussion from the body. Through body movement, people leave their trace and create memory. In this way this article discusses the role of body in the art works and the its connection to location, memory and the trace left. Because there are so many participants for Field, Field is completed in a considerable number of figures. And participants are farmers and students. Therefoer from the view point of participants' body, identity, and places of exhibition, this article secondly discusses the role of participants under the framework of globalization. Another place locates at seaside. The figures are cast replicas of the artist's own body. Visitors of those figures become an accidental event. Through Field and Another place, a discussion is made on how an artist uses his body and interacts with environment to create in between field, which expresses significance of art work.
Artists have long been seen as divine creators. The legends and myths associated with them lead to people's quasi-religious worship of artists and their works. Being a form of mass media, films in Taiwan repeatedly reinforce the stereotypical images of artists and inevitably influence people's understanding of art. In the 1970s, Taiwan cinema's representation of artists had made certain adjustments to reflect a series of drastic political, social and cultural changes at that time. This article argues that the visual artist-films of Li Xing and Bai Jing-rui of the 1970s reflect the transformation of contemporary art trends in Taiwan. By portraying the artists' agony, madness, rebellion, nihilism and selfadjustment that is caused due the dominant ideology under capitalism, these films represent several important debates in the development of art in Taiwan, including the Chinese Modern Painting Movement since the 1960s, the pros and cons of abstract paintings, Native Movement of Fine Arts, as well as art business, the role of art critics and the influence of mass media.
Keywords
visual artist, image-making, madness, Li Xing, Bai Jing-rui
This disquisition is about to introduce three aspects of "Living World Series" of Ju Ming in a new perspective. These pieces of Ju Ming's work not only correspond to his attitude toward art creation, but also close to the life of modern people and summarize the process of his career on sculpture making.
Besides, if we put Ju Ming's "Living World" pieces in the frame of global thinking, his pieces of art work represent many Taiwanese' common image and memory of their mother land. Indeed the masterpieces show Ju Ming's art creation and inspiration generating from his daily life which could be called "Ju Ming style" and "Taiwan Style," too.
Keywords
Ju Ming, Sculpture, Living World Series, Globalization, Art of Living
Resembling overglazed ceramic sculpture is a unique creation in the Qing dynasty. And the technological developments of Jingdezhen made in the late 17th and early 18th centuries in the overglazed enamel wares freed ceramic artists from a number of constraints that had limited the painting and shaping styles employed on porcelain wares. The transformation from the palette of traditional mineral glazes to enamel pigments has associated with material objects. The forms of famille verte and famille rose decoration appeared and described as falangcai, yangcai and fengcai, improved the expression of ceramic sculpture to fulfill needs of customers. Yixing kilns in Jiangsu province are famous for its brown and red stonewares known in Chinese as zisha ('purple sand') wares. The material is ideal for enhancing the taste and aroma of tea, and the teapots, which were never washed and developed fine patination. In addition to teapots and desk objects such as brush-rests, the kilns produced zisha melons, fruits, nuts and other shapes taken from nature. The taste for plain, interesting ceramic wares persisted throughout the Qing dynasty.
Sculpture and sports both feature the human body and its vitality. However, cultural differences took them onto different paths in the East and West until the late 19th century. Frequent communications between eastern and western cultures impacted all facets of life, including art and sports.
Time and social changes brought discrepancy and divergence to the development of sculpture and sports in Taiwan. In the 1980s, Ju Ming's Living World Series - Sports Series became the entry point for exploring the relationship between sculpture and sports in Taiwan. Ju Ming's embark on his journey through the Living World Series-Sports Series coincided with the increasing sports popularity and the discourse on public art at the time. His success has never been attributed to any academic or political affiliations but the way he challenged the world with his own perseverance and courage. The same could be attributed for the athletes during post-war sports development, who left a glorious page in Taiwanese sports history. For Taiwan, it was a time when diplomatic matters relied heavily on international sports events, building sports facilities was a way for local governments to obtain funding, and funding for public art was proposed for civic buildings. This is the backdrop against which sculpture and sports collided.
This essay is based on predecessors' study, focusing on Ju Ming's "Living World Series-Sports Series", and linking statue artwork and sport development together in Parallel. Eventually it presents the relationship between modern sport thoughts and Sport-series and by the living.
