黃土水自幼家境清貧，接受日本殖民教育的洗禮後，進入國語學校就讀，並受到臺灣總督府官員提拔，以公費資格遠赴東京美術學校研修雕刻。黃土水創作的作品榮獲日本帝國展覽會的肯定，成為臺灣首位入選帝展的藝術家。這份殊榮除了黃土水自身的努力之外，日治時期的政治及教育制度成就其非凡的人生際遇。
黃土水除了創作帝展作品，接受日本皇室訂製的藝品外，他也把藝術的觸角延伸到民間，接受日臺士紳肖像及裝置藝品的訂製，走向多元化的大眾藝術。然而，黃土水自言無暇與人交往，是怪人一個。若黃土水不擅交際，何來的資金挹注，讓其能繼續創作呢? 在《臺灣日日新報》中的記載，顯示黃土水曾出席多場公開的社交活動，進一步建立自己的社交人際網絡，並與臺灣總督府官員、日臺的紳商，以及文人雅士多有往來。從1927年開始，《臺灣日日新報》以專文介紹，並且協助販售黃土水的藝品，成為藝術商品化的開端。
傳統和現代的過渡不僅反映在黃土水的作品上，對其人際網絡的
建立及藝術創作的發展都產生極大的影響。藉由社會史的角度去重新
檢視黃土水，對日治時期臺灣文化發展態勢有不同的觀照，以補昔日
研究之不足。

黃土水、日治時期、帝展、臺灣日日新報、藝術贊助

Mr. Huang's family was not wealthy when he was young. After the Japanese colonial education, he entered to Normal school, and got support from the officer of Taiwan Government to go to Tokyo Bijutsu Gakko to learn sculpture with public funds. Mr Hung was Taiwan's first artist whose works won Japanese recognition. Besides his efforts, the political and educational systems of Japanese occupation period brought his outstanding life experiences.

Mr. Huang created the works for Japan Empire Exhibition, accepted the order from Japan royal family, and extended his artificial field to general life hood to customize the portrait and artificial decoration for Japanese and Taiwan gentries. This led to various public arts. However, he personally regarded himself as a weird man because he had no time to have interaction with others. If he was not good at social relationship, how could he get financial funds to support his creation? In the records of Taiwan Daily News, Mr. Huang attended many public social activities to enhance his social relationship. He also made friends with some officers of Taiwan Government, businessmen and artists from Japan and Taiwan. Since 1927, Taiwan Daily News had kept assisting selling his works. It was the beginning of artificial work commercialization.

The transition of conservation and modernity not only reflected on his works but also influenced of establishment his social relationship and development of his work creation. This article, in a social history perspective is to review Mr. Huang again, and analyze Taiwan's cultural development; hope to compensate the insufficiency of existing researches.

Huang Tu-Shui, The Japanese Colonial Period , Empirical Fine Arts Exhibition, Taiwan Daily News, Art Sponsoring

　　2014年6月 Masterpiece London 藝術博覽會慶祝英國藝術家菲利浦．金(Phillip King) 的八十歲大壽而舉辦其戶外雕塑個展，其中有來自臺灣苗栗東鋼藝術家駐廠創作的成果。九件展出作品中，可見藝術家用色彩與構成來對抗重力進而達到元素間的平衡，創作更從「幻象主義」逐漸轉向材料的物理特質。他的雕塑牽涉了「物性」，陳述了對臺座、尺寸、周邊環境與光線互相關聯的問題。本文探討英國新雕塑的背景與重要性，由美國1960年代藝術批評來理解菲利浦．金雕塑中的「物」與「物性」，研究其雕塑作品隱含的創作脈絡。

菲利浦．金、英國新雕塑、物、物性

In the year of Phillip King CBE PPRA's 80th birthday, an outdoor exhibition of his sculpture was displayed at Masterpiece London in Ranelagh Gardens, Chelsea, June 2014. Among the nine works being in the show, the latest ones were made in the Tung-Ho Steel Factory during King's artist residency in Miaoli, Taiwan. The sculptures were made using color and construction that freed the work from a sense of gravity. All elements reached balance with his works turning illusionism to physicality of materials. His sculptures are a statement on the problem of the relationship between the plinth, scale, context and light as they have reference the problem of "Objecthood". The study explores the background and importance of British New Sculpture, and examines the influence of Object and Objecthood on King's sculptures through the connection with American Art Criticism of the 1960s. This will enable an understanding of the creative context behind the work.

Phillip King, British New Sculpture, Object, Objecthood

觀念藝衛在方興未艾前，吉塞佩．貝諾內己用一種先知「悟道」的超然姿態，將雕塑從自然中解放，他並未追隨當時流行的極限主義
或形而上美學藝術觀，而是從個人的生命經驗與歷史中找尋靈感， 以感性的回園詩意，與理性的批判邏輯，去重新看待既存之物、有機物或自然的定義，反轉人類對現實世界的慣習，成為當代藝術啟蒙一個重要的思維。
本文以義大利貧窮藝術家吉塞佩．貝諾內雕塑創作為核心，從他多元面向的作品切入，循著作品的創作脈絡作介紹興分析，去探究在1960年代極限主義美學興盛的時代背警下，貝諾內如何從傳統文化中尋找藝術新的可能，成為觀念藝術先驅。有鑒於觀看貝諾內的作品，能發現深厚的道家美學與哲思特性，而現今西方學者尚未能以東方哲學觀點深入分析他的東方特質，因此分別藉形神相似的中關樹石盆景藝術與日本庭園藝術為出發點，探討他作品中自然形式的特質，並旦進一步發掘他創作觀念與道家思想的重要關係。以東西方文化的背景和特質，釐清他創作的思想根源，並思考當今藝術創作者如何從自身文化中攝取養分去創造新的可能。

吉塞佩．貝諾內、貧窮藝術、泛靈主義、盆景藝術、道家美學

When Conceptual art was not as flourish as how it is today, Giuseppe Penone (1947-) was a prophet already who had liberated sculpture from nature with enlightenment. Instead of following prevailing minimalism or metaphysical art during that period, Giuseppe Penone sought for inspiration through his personal life experiences and poetic sensibility within literature. He not only also applied tautology and creative criticism to excavate truth from substance of nature, but also reverse stuffy definition of existence and nothingness. Giuseppe Penone brought enlightenment thinking of contemporary art up.

In this paper, I try to analyze the Italian artist Giuseppe Penone who was the youngest member of Arte Povera. As sculpture had always been his core rhythm, I first introduce his multi-oriented sculpture following his sequence of the concept, and then analyze how he became a pioneer of concept art through creating a new possibility from the tradition and the reality in a world of art dominated by flouring minimalism. Secondly, I attempt to study Giuseppe Penone's achievement through connecting it with Daoism and Chinese bonsai art. Until now western scholars still couldn't discuss about his art through in-depth perspective of eastern world. We however can find the concept of Daoism within his work. Therefore, I try to find the relationship between Daoism and his perspective of art. At the end, we could more clearly and deeply understand his outstanding mind by comparing with eastern culture, and find what evokes Concept art, Body Art, and Process Art. It is possible to inspire eastern artists to furthermore examine their own traditional philosophy in reverse and create possibility of new amazing art.

Giuseppe Penone, arte povera, animism, chinese bonsai art, Daoist aesthetics

　　在台灣人的視覺經驗中，對人物紀念塑像應不陌生。因為在戒嚴時期，人物紀念塑像不斷被製造與設立；而在當時生產的作品中，有不少到今日依舊存在。這些作品表現的對象多為當代的重要政治人物；因此，在普遍的社會認知中，這些塑像往往與政治畫上等號。

但實際上，戰後大量出現的人物紀念塑像並非如此單純而均質，當代政治人物亦非作品題材的唯一選擇。在此時期紀念雕塑的歷史中，甚至出現過一系列特殊的作品：以「義人」─為拯救他人而犧牲生命者─為表現對象。這些「義人」原均為平凡的市井小民，他們與當時統攝一切的國家機器距離遙遠，和著重「國族歷史」的大敘事體系更缺乏直接關聯；但因他們捨生救人的行為，而被國家重視、表彰，進而採用建造塑像的方式加以紀念。這種現象在紀念塑像發展史中並不常見，與普遍觀點中將人物紀念塑像視為威權時代領袖崇拜風氣產物的論述似乎也有所落差。
　　因此，本文將以美術史觀點，探究義人塑像作品在造型上的可能意涵；同時將這一論證根植於歷史學觀點上，考察它們在時代、社會脈絡中的位置，並嘗試為其賦予具有歷史意義的詮釋。希望能為此類型作品提出可能的觀看與詮釋方式，同時也重新反省過去論者面對人物紀念塑像時所秉持的化約式論述所可能造成的問題。

人物紀念塑像 義人 道德論述 神話學

Taiwanese ought to be familiar with memorial statues, for the reason that there had been a lot of them sculptured and founded during the period of martial law. Furthermore, a lot of memorial statues still remains until now. Those memorial statues were mostly dedicated to important political figures; thus, in accordance with the common associations and comprehension, people oftentimes simply draw equal signs between those statues and politics.

However, the established memorial statues were not that simple nor did possess equivalent qualities of integrities. In fact, political figures of that era were not the only choice of subject matter in the field of memorial statues. During this period in the memorial statues history, a new series of innovative and unique artworks took "dedicator"-who had sacrificed themselves to help and rescue others-as subject matter had emerged. These virtuous men were originally merely laymen who were remotely connected to governmental local authorities or even hardly possessed direct association with grand narrative schemes who always emphasized on the history of nationhood. Nevertheless, these brave virtuous men were willing to sacrifice themselves to help and save others. Thus, the nation built memorial statues to show their appreciations, honors and commemorations towards these heroic virtuous men. Such phenomenon was rarely to be seen in the development of memorialization history and quite different from the conservative perspective-which used to regard memorial statues as common practice to show deepest and greatest admiration towards leaders from the authoritarian period.

Hence, this study applies art history's vantage point to probe into essence of aesthetics and forms that can be derived from this series of these unique statues; furthermore along with the historical viewpoint, this research is also delving into influences and inspiration of these memorial statues towards entire society during the whole period, and eventually making an attempt to make an approach to historical interpretation. This type of unique artworks is also expected to provide possibilities open to another path of new studies in the future, as well as reflections of plausible problems induced by reductionism and general discussion discourses proposed by the preceding theorists.

memorial statue, dedicator, moral discourse, mythology

　　國民政府遷台後初期，因應當時台灣特殊的時空背景，以「美術救國」為目標，推動一系列具有戰鬥精神的文藝運動--「戰鬥文藝」；在官方與社會兩方面大力鼓吹下，蔚為當時文藝界的主流。在時過境遷一甲子後的今日，回顧當時的文藝政策及美術表現，從這些富有特殊題材及涵義的美術作品中，可以具體觀察當時社會的人文現象，並探討這段時期美術與政治的折衝關係。
　　本文擷取一九四九年至一九八四年橫跨前後三十五年時間，依當時文藝政策的發展及造成之影響，劃分成四個時期分別論述，論述內容包含當時的政治氛圍、政策走向及實際的美術活動與雕塑作品表現等。本文試圖秉持較客觀、寬廣的立場，重新檢視這段被漠視的美術歷史，希望引領讀者能用更大格局的眼光來重新認識，看待這段特殊歷史情境下的特殊作為與成就。

戰鬥文藝、文藝政策、美術救國、文化清潔運動、國軍新文藝運動

In the early stage soon after Kuomingdong government retreated from China to Taiwan, a series of literary and art movement with the "fighting spirit" (or military literary and art) was introduced and greatly promoted across the island with both social and governmental propaganda machine. The literary and art movement with fighting spirit had become the main stream of literary and art at that time.

As we look back, sixty years later, at the literary policy and the artistic expression at that time, and from these special topics and contents of the art work, we can look into objectively the humanity of that society and examine the conflicting and relationship between the politics and art during this period of time.

This research covers thirty five years of Taiwan literary and art from 1949 to 1984. It is divided into four periods according to the development of literary and art policy and its influence on the society. The political atmosphere then, the direction of the policy, the actual activity of art and artistic expression exhibited by art works are covered in this work. The neglected art history of this period has been re-examined with an objective and broad viewpoint. It is hoped that the readers will look at this work with a greater and broader view in analyzing and judging the art history of this period.

literary and art with fighting spirit (or military literary and
art), literary and art policy, fighting for the survival of the
country with art, cultural purging movement, new military literary and art movement

　　在台灣，漢系木雕的發展一直根植於民間生活，成為反映常民文化（civic culture）的一種藝術面相。在隨著社會型態的轉型與文化內涵的交錯認知下，逐漸地在當代藝術論述中出現了「傳統木雕」與「現代木雕」名詞的分野。台灣漢系木雕由懷舊與祈望的傳統審美價值（aesthetic value）中，進入新的「現代性」階段，由傳統的木雕技法與觀念轉植為「現代木雕」外顯形式化的傾向。以媒材、藝術跨界、精神性追求之意圖，構成台灣當代木雕論述的主體，轉化而來的「現代木雕」是採取現代性實踐的方式所開創的全新格局；因此可看見當代作者的風格更加鮮明，表現出重視思想情感的表達，反應著作者創作主體意識的提昇，將知識與傳統的信仰反思再造，逐步由嚴謹的工藝製作程序脫胎出自身性、表現性更加自由強烈的藝術作品，漢系木雕的歷史進程，漸進著跟隨當代思潮演進，在時間演替的前提下，可觀察、斷分出不同的分期與表現型態。
　　本文由現代性的審美理論切入，據此反思傳統木雕之現代性現象的轉化與內涵，以台灣漢系木雕現代性問題之例，進行變遷與轉化的研究，探究台灣漢系木雕的傳統因素為何呈現了涵化變革？傳統因素之影響為何產生遞減、並轉化為臺灣當今所指稱的「現代木雕」形貌，藉由當代木雕藝術風格的評析與探討，歸結出當代木雕的表現形式與內涵特色，進而形塑「台灣現代木雕論述」的成形，以見證今日臺灣木雕藝術的多元、創新面貌。

現代性、轉化、藝術跨界、台灣現代木雕論述

In Taiwan, the Folk Woodcarving development which is rooted among people lives reflects civic cultures and becomes a kind of artistic aspect. With the variation of society status under interlaced cultural connotations, the "traditional woodcarving" and the "modern woodcarving" are gradually departed in the contemporary art today. The "traditional aesthetic value" of Folk Woodcarving is conversed to form the "modernization", while traditional woodcarving skills and conceptions are converted into extrinsic formalization of "modern woodcarving." The major discourse of contemporary woodcarvings in Taiwan consists of materials, art cross sections, and pursuits of mental consciousness. It is the "all new pattern" transformed from the "modern woodcarving" that is still created by the modern ways. Styles of manufacturers may be more vivid, exhibiting the responses of emotion and reflecting the raises of manufacturers' self-esteems. The creators reconstruct their knowledge and traditional beliefs, and then produce works that represent more "selfness" and "freedom" by rigorous processes. We can find different periods and phenotypes of "historic progress" in the Folk Woodcarving with gradual developments of ideology and time.

In this study, we used modern aesthetic theories to recollect the
convention and the connotation of modernity on traditional woodcarvings. In addition, the Folk Woodcarving in Taiwan were taken as examples to conduct the research on transformation and convention. We wanted to explore why modern woodcarvings have presented a phenomenon of "metamorphism?" or why them decreased from traditional factors and how they convened into so-called the "modern woodcarving?" With analyses and investigations on contemporary woodcarving styles, we categorized the manifestations and the connotation characteristics of contemporary woodcarvings. Moreover, the "discourse of modern woodcarvings" in Taiwan was elaborated to witness the diversities and creativities of woodcarvings in Taiwan nowadays.

modernity, convention, cross section, modern woodcarving discourse in Taiwan

　　本文所欲考察者乃臺灣雕塑領域中，使用石材為主要的創作材料者的歷史。雖然1980年代以降，複合媒材的創作蔚為風潮，因此從單一媒材來觀看創作領域，將會產生界定上的困難。但本文的書寫則將這些爭議與從石雕衍生的創作及作品型態也納入書寫內容。而根據上述的定義，並以1980-2003年這一個區段時間為縱軸，考察石雕類型知識生產、通路、教育、聖化機構(consecration)、及市場等機制（institution）中的情況。
　　在第一節中筆者將討論關於石雕之界說與臺灣早期石雕源流。而欲理解1980年以降的石雕發展，則有必要對1980年代以前的石雕發展作一理解。因此，在第二節中本文將談論臺灣1980石雕發展前說。第三節則是本文的主要討論對象1980年代以降的臺灣石雕發展考察，並於第四節提出考察後的風格描述及發展檢討。

台灣、雕塑、石雕、臺灣雕塑、臺灣石雕歷史

The objects of this thesis are about the history of the Taiwan sculptures that use stone as their major material. However, since the 1980s, mixed materials have gained popularity in Taiwan; therefore, this thesis will encounter definition problems if take artists who only use single material as samples. To avoid these problems this thesis will adopt those who use mixed material but major materials are still stone as research objects. In this definition, this thesis will survey the production, marketing or distribution channel, education, consecration, and market of stone sculpture during the period from 1980 to 2003.

In chapter one, I will discuss the definition of the stone sculpture and the beginning of the Taiwan sculpture history. Second chapter will survey the sculpture history of Taiwan from the end of World WarⅡto the 1980s. Then in the third chapter, I will survey the sculpture history of Taiwan from the 1980s to 2003. Chapter four will describe the sculpture styles after the 1980s and discuss development problems of the Taiwan stone sculpture.

sculpture, stone sculpture, Taiwan stone sculpture history

　　本文試圖探索雕塑之本質，特別聚焦於採用「塑造」與「翻模」方法製作而成的雕塑。
　　由於上述模製方法有意增加雕塑品的數量、重製其形體，此種複製的目的隱藏著複雜的作品特性。研究內容首先由複製品的歷史以及法國羅丹美術館（Musée Rodin）違法鑄造作品造成的醜聞來分析，企圖為青銅雕塑偽作下定義；其次回顧雕塑家奧古斯特．羅丹（Auguste Rodin，1840-1917）的創作方式，並參照美國藝術評論家羅莎琳．克勞絲（Rosalind E. Krauss，1941-）的主張，解釋雕塑的複數性特徵；文末從美學觀點重申雕塑的偽作與雕塑複製的價值。藉此研究的結果，期望能進一步認識雕塑傳統，在創作上益加準確地運用雕塑語彙。

鑄造、複製品、美學

The research aims to discuss the essence of sculpture refers to the
methods of molding and casting.

The study would make a definition for duplicate by analyzing the content includes the history of duplicate and the scandal that Musée Rodin illegally casted bronze sculpture. By consulting the ways Auguste Rodin (1840-1917) composed his original works and the art critics Rosalind E. Krauss (1941-) claimed, the study would expound the features of multiplicity that sculpture owns. Besides, the research would also ingeminate the value of both duplicate and reputation according to esthetics.

casting, duplicate, esthetics

　　當回頭檢視著人類的歷史，並且從中擷取那些作為緬懷的時刻，我們發現一種可能，這是關於紀念雕塑的力量，紀念雕塑將人類的那種消逝的感動加以具體化。隨著時間的推移，這些物體與物件也進化為一種探索自身的可能；除了擁有著過去保存記憶的功能之外，更大的面向是來自於形式上的開拓。本文試圖分析雕塑紀念碑的時空標的，歸結出一種意義上的轉變，並冀希從作品實踐中，挖掘出埋藏在形式與內容中可能的深度能量，作為檢視的紀念雕塑發展的途徑，來展示其另一層容貌。

紀念雕塑、精神性、時代信仰、真實、空間

When inspecting the human history and pick those moments as cherishing the memory of from it, we find a kind of possibility about the strength of commemorating sculpture, which specified the disappearance emotion of human. As time goes on, these objects and things evolve as a kind of possibility of exploring oneself; besides having the function of preserving memories in the past time, they are the reclamation of forms in a bigger facet. This text attempts to analyze in the space-time marks of the sculpture
monument, concludes a kind of transition of the meaning, and wishes to excavate out the depth possible energy which was buried in forms and contents as the way of viewing commemorative sculptures' development to show another aspect.

memorial sculpture, spirituality, the faith of the times, real, space

　　朱銘出生於苗栗通霄農家，從一位傳統的木雕師傅出身到拜入楊英風師門，進而蛻變為台灣代表性藝術家的過程，已為人所熟知。但是朱銘的成長背景加上崛起藝壇的特殊性，讓其自然成為一種傳奇故事型態的敘說來源，使得每個人心目中的朱銘，是一個經過時間序列塑造與層層堆砌而成的形象，讓那些原本看似熟悉的身影即刻模糊了來。
　　朱銘自1976 年首次個展成名以來，迄今已逾三十餘年，有鑑於目前
對於朱銘相關研究，尚未有一個整體性的回顧。因此本文即希冀回歸原
點，來發掘出史料中隱含的脈絡，更爬梳出各時期對於朱銘研究的主軸，
各時代裡對於朱銘論述的重心是置於何處？又各自有何特色，掌握住朱銘論述文本中的關係序列，有助於我們作為論述朱銘藝術生涯發展的基點，以及今後對於朱銘相關研究的書寫角度與論證面相得以逐漸清晰。最終更期望累積與深化對於朱銘的認識與理解，讓我們得以釐清與更接近其真實的面貌。

朱銘、現代雕塑、太極系列、人間系列、藝術即修行

Ju Ming was born in Miaoli, Tongsiao, from a traditional wood carving master origin, to become student of Yuyu Yang, and then evolved into the artist's process of Taiwan's representation has been well known. Ju Ming background coupled with the rise of the specificity of art, so naturally become a legend of the narrative pattern of the source, making the eyes of each person Ju Ming is a time-series shape with layers of stuffing from the image so that those people who are already familiar with the figure may seem to blur together instantly.

Ju Ming from the first solo exhibition in 1976 to become famous since, to date, more than thirty years, in view of the current Ju Ming related research has yet to have a comprehensive review. This paper is therefore the hope of return to the starting point to explore the historical context of implied, but also sorted out the period of study for the main axis of Ju Ming, the era of the Ju Ming is the focus on the placement? Also what their characteristics, have lived in the Ju Ming discusses the relationship between the sequence of text, will help us as a Ju Ming discusses the basis for the development of artistic career, as well as the future for the Study of Ju Ming-related writing and argumentation perspective will gradually clear, physiognomy.

Also hope that eventually the accumulated and deepening understanding of the Ju Ming and understanding to enable us to clarify and closer to their true face.

Ju Ming, Modern Sculpture, Taichi Series, Living World Series,
Art as a spiritual discipline