臺灣的公共雕塑應殖民政府配合都市建設而生，為政治服務，殖民官員是謳歌頌德的主體。由於臺灣為殖民地的本質，政府並不需要培養本土人才，也未考慮公共雕塑配合環境與裝飾美化的藝術價值。一九二○年代首位本土雕塑家黃土水的才能受日本美術圈肯定，然而在他有生之年，官方聘其為皇室製像、獻納作品，均以突顯殖民政績為目的。1930年後到日本軍國主義高漲前，由於此時文化發展相對蓬勃，政府官員也注意到將美術雕刻作品放在具有教育意義的公共場所裡。包括黃土水的〈甘露水〉與鮫島臺器的〈望鄉〉，這兩件曾經入選帝展的作品被收藏於臺灣教育會館，黃氏遺作〈水牛群像〉在1936年用來裝飾美化臺北公會堂，基隆公會堂裡則有按照計畫製作的鑄銅女神像。隨著日本對外擴張，軍國主義的氛圍也影響到雕塑創作，公共空間裡的塑像轉以忠君愛國為目的。最後在戰事緊迫，在大量需求軍資的情形下，創作環境不但日漸艱困，媒材也受到限制，從前的銅質作品都變成戰爭中的犧牲品。

日治時期、公共空間、雕塑、黃土水

Taiwan's public sculptures were born out of the Japanese colonial
government's efforts to support urban development. They served the politics of the time, with colonial officials as the subject of eulogy. Since Taiwan was a colony, the colonial government had no intention to cultivate local talents, nor did it take into consideration the artistic value of public sculptures as installations that would interplay with, decorate and beautify the environment. It was only in the 1920s that the talent of Huang Tu shui, the first native sculptor, was recognized in the art circles of Japan. Throughout his life, however, Huang was commissioned by the authorities to create likenesses of the Japanese imperial family or other works that served as honorary tributes. Their purpose was wholly to highlight the governmental achievements of the colonial rulers. In the years from 1930 to just before the upsurge of Japanese militarism, the cultural scene in Taiwan was (relatively speaking) thriving, such that government officials began to pay attention to placing artistic sculptures in public locations with educational significance. Among these were Huang Tu shui's Sweet Dew and Samejima Taiki's Looking Towards the Homeland. Both works had been selected at the Imperial Art Exhibition, and were kept in the Taiwan Education Association Building. Huang's opus Water Buffaloes was used in 1936 to decorate the Taipei City Hall, while a cast bronze figure of a goddess made according to the sculptor's plan was placed in the Keelung City Hall. Eventually, with Japan's outward expansion, the making of sculptures was influenced by the militaristic atmosphere. Sculpted images in public spaces became aligned in purpose with loyalty and patriotism. Later, as the urgencies of the war caused the military to be in great need of resources, it became increasingly harder for sculptors to work. The use of materials was restricted, and bronze works of the past ended up as sacrifices for the war.

Japanese Rule, public spaces, sculpture, Huang Tu-shui

　　在現有的臺灣美術史研究中，日治時期的臺灣美術運動，往往被詮釋為「透過日本而接引到源於歐洲的現代美術」這樣一個具有過渡性質的時代角色。在此偏重整體性而忽略藝術家個人表現的強勢概念化詮釋下，諸多留日臺籍美術家的作品，成為專家眼中的「外光派遺續」，或是迎合帝國主義眼光品味的「南國風光」的文化產品。而上述的主流論述，用於書寫日治時期的臺灣美術發展，也確實能呈現某些方面的真實。然而，站在新世紀的今天，回顧近百年前由前輩們所開啟的新美術運動，我所關注且企圖尋找的是，在那樣一個不可能避免「殖民化」又必定要侷限在「橫的移植」之格局的年代，有沒有人能夠突破那無形的限制，開始走出具有獨立思考能量的美術本土化的新頁？同時，日治時期的臺灣美術，除了有「日本導師與臺灣學生」的垂直關係外，我們能否提出「日本導師與臺灣大師」或「臺灣大師與臺灣大師」這樣平行的結構？從此角度出發，我更加將重點放在臺籍美術家在接受日本現代美術洗禮後，如何藉由對自身文化處境的反省所產生的藝術翻轉。這種翻轉，可能出自對殖民者的反骨（如陳植棋），可能出於對鄉土由衷的思戀（如黃土水），甚至可能出於我們如今避之唯恐不及的祖國認同（如劉錦堂、陳澄波），但無論其內在來源動能如何相異，但實踐到藝術創作上，最終則體現了兩條根本的路徑；即情感在地化和語言民族化。而非常湊巧的，臺灣美術史上最早留學日本的雕塑家黃土水與畫家劉錦堂，正是情感在地化和語言民族化的代表人物。若從作品的數量來看，他們可能都因為英年早逝而有所不足，但就創作質地而言，無論黃土水的〈釋迦像〉、〈水牛群像〉，或劉錦堂的〈亡命日記圖〉、〈棄民圖〉，都該是放到世界一流美術館也依然靈光煥發的不朽傑作。這篇文章，從日治臺灣美術寫到日本現代美術，從立體的雕塑寫到平面的繪畫，也從藝術家的生平寫到他們的理想與感情，只希望透過個人的研究與論述，能使黃土水、劉錦堂這一對最早出發的「臺灣大師與臺灣大師」的美術史位置，有更為適切且準確的輪廓。

日治臺灣美術、情感在地化、語言民族化、黃土水、劉錦堂

In the existing research on the history of Taiwanese art, the art movement in Taiwan during the period of Japanese rule is often
interpreted as a historical transition in the form of "modern art
connecting to its European sources via Japan". This dominant, conceptualized interpretation focuses on general character and neglects the idiosyncrasies of individual artists. The works of many Taiwanese artists who had studied in Japan are accordingly seen by experts either as "legacies of plein-airism" or cultural products sporting a "southern exoticism" that catered to the imperialistic perspective and taste. This mainstream discourse does lay bare certain realities indeed in the writing of the development of Taiwanese art during the period of Japanese rule. However, as we in the new century today look back on the new art movement initiated by our forebears nearly a century ago, what I am concerned about and hope to uncover is this: In the era when "colonialism" was unavoidable and being confined to a gestalt of lateral transplants was necessary, was anyone able to break through the invisible limitations and start a new page with the energy of independent thinking towards the indigenization of art? Other than the vertical relation between "Japanese mentors" and "Taiwanese students," can we, in the matter of art in Taiwan under Japanese rule, put forth an alternative structure of parallels— such as "Japanese mentors" vis-à-vis "Taiwanese masters," or "Taiwanese masters" vis-à-vis "Taiwanese masters?"

Approaching from this angle, I focus more on how Taiwanese artists reflected on their own cultural situation after returning from their immersion in modern art in Japan, and how they thereby came
up with artistic reversals. Such reversals might have stemmed from
rebelliousness against the colonialists (as seen, for example, in Chen Chih-chi), a heartfelt attachment to the native countryside (as seen, for example, in Huang Tu-shui), or even the sort of identification with the motherland that we today would distance ourselves from (as seen in, for example, Liu Chin-tang and Chen Cheng-po). However different the inner motivations might have been, the resultant artistic praxes ultimately boiled down to two fundamental routes of evolution -i.e., the localization of sentiments and the nationalization of artistic language. The sculptor Huang Tu-shui and the painter Liu Chin-tang, two of the earliest figures in the history of Taiwanese art to study in Japan, happened to be representative of these two trends. The opuses of both men may be small in quantity due to their early demises, but as far as artistic quality is concerned, Huang Tu-shui's Siddhartha and Water Buffaloes as well as Liu Chin-tang's Days on the Run and Forsaken People count as immortal masterpieces that would shine in any top museum in the world.

This paper goes from Taiwanese art of the Japanese rule period to
Japan's modern art, from three-dimensional sculpture to two dimensional painting, and from the lives of artists to their ideals and sentiments. It is hoped that my research and exposition will etch a more fitting and accurate profile for Huang Tu-shui and Liu Chin-tang as two figures in art history to set out as one "Taiwanese master" vis-à-vis another.

Taiwan's art under Japanese rule, sentimental localization, nationalization of artistic language, Huang Tu-shui, Liu Chin-tang

　　本文以朱銘的木雕作品與朱銘美術館為例，從藝術家的創作環境、技法、選材談起，延伸探討作品的典藏維護情形。藝術品在時間自然的洗禮下，會因為創作者所使用的材料、創作方式及收藏環境的影響而產生各種不同的劣化程度。因此，本文旨在探討私人美術館資源與經費的限制下，木材質作品的典藏與展示環境現狀，同時簡要概述木質作品的主要劣化情形、溫溼度對木材的影響，以及木質作品常見的蟲害問題與管理。文中亦提出理想木質作品保存環境建議，並說明朱銘美術館內現行之除蟲機制與發展，並為美術館在未來發展保存與研究木質作品上的方向提出建議。

朱銘、私人美術館、木質作品、典藏管理、修復與保存、蟲害、劣化

This article focuses on Ju Ming's wooden sculptures and Juming Museum. Started from the artist's studio environment, techniques, selection of materials, and later extended to explore the state of collection management and conservation.

Artifacts age and deteriorate differently within time; the degree of deterioration varies based on the materials, techniques and collection environment. Therefore, the collection environment plays an important role for long term preservation.

This article aims to advocate the museum's effort to improve the
exhibition space and collection environment under the restrictions. The deterioration of wooden artifacts, the impact of temperature and relative humidity on woods, pest infestation are also discussed.

The paper proposes the ideal collection environment for the preservation of wooden artifacts. It also demonstrates the pest
management procedure and development at the Juming Museum. In conclusion, it provides the directions for the conservation research and future developments of wooden artifact studies.

Ju Ming, Private Museum, Wooden Artifact, Collection Management, Conservation, Pest infestation, Deterioration

　　朱銘今日的成就，應該沒有人會否定；但他過去所走過的痕跡，卻留下許多震撼性的議題。人們至今仍津津樂道，他一夕成名的傳奇性故事，許多人對他還停留在「素人」藝術家的形象。
　　然而，不論是傳奇性的故事，或是「素人」藝術家的印象，還是蜚聲國際的太極系列作品，都是在1970 年代發生。這個時代非常地關鍵，也非常地精彩。朱銘在這個時候與楊英風朝夕相處，也是在這個時候一夕成名，成為全國知名的雕塑家。因此，以朱銘作為代表，回顧1970 年代，成為非常有意義的事。
　　本文以「傳統．生活美學」、「學院．現代美術」、「蛻變．中西鎔鑄」三個面向，探析朱銘雕刻藝術風格及美學理論的轉變，並論及時代的氛圍與朱銘的關係。

朱銘、木雕、雕刻、臺灣美術、鄉土運動

Few people would doubt Ju Ming's achievement today. However, what he had done in the past has left some surprising issues. People like to talk about the legendary story of how he became famous overnight, and many of them still think of him as a "naïve artist."

The legendary story, the general impression of a "naïve artist" and
the world-famous Taichi series all happened in the 1970s. The decade was critical and remarkable. It was during that time that Ju Ming studied closely with his master, Yu-yu Yang, and acquired his fame overnight as a nationally known sculptor. Therefore, it is quite meaningful to take Ju Ming as a key example to review the 1970s.

This essay analyzes Ju Ming's sculpture style and change of aethsetic ideas from three aspects: "Tradition/Life Aesthetic," "Academy/Modern Art," and "Transformation/Mixing the East and West." It also discusses Ju Ming in relation to the zeitgeist.

Ju Ming, wood sculpture, sculpture, Taiwanese art, the Nativist Movement