日本近代文化移植—西洋雕塑引進台灣
1895年，清朝在甲午戰敗後將台灣割讓予日本，此後五十年，台灣一直受著日本的殖民統治，也間接地跟隨日本的方式開始接受西方現代文明的洗禮。
台灣雕塑家黃土水（1895∼1930）、黃清埕（1912∼1943）、蒲添生（1912∼1996）、陳夏雨（1917∼2000）先後赴日本進入東京美術學校或是雕塑家私塾學習西洋雕塑。當時日本雕塑界以深受西洋近代雕塑之父羅丹（Auguste Rodin, 1840∼1917）雕塑風格的影響，這批台灣雕塑發展的先驅，因為師承的關係，學習的雖是傳承自羅丹觀念技巧的西洋雕塑，但已滲入日本風骨，亦即並非一味講究西洋寫實表現的造型與技法，也融入自身文化中觀照自然、體察人性的精神實踐，並追求自我的風格。他們努力將所學在台灣傳承，將台灣的雕塑發展帶向嶄新的現代化里程。
日本的「文展」（文部省美術展覽會）以至後來的「帝展」（帝國美術院展覽會），是參考法國「沙龍」制度而設的官辦展覽會，這是當時當時日本最重要的創作發表舞台。日本與台灣的藝術家皆以入選文展或帝展做為成就的標竿，黃土水、黃清埕、蒲添生、陳夏雨都是在入選帝展後受到日本藝術界的矚目。官辦展覽會這樣的美術制度在日治時期自然也引進台灣，「台展」（台灣美術展覽會）創立於1927年、「府展」（台灣總督府美術展覽會）創立於1938年，皆同樣地成為台灣重要的創作發展舞台，但是台展與府展皆未設雕塑部。
黃清埕（1912∼1943） 頭像
約1940 23×20×26.5cm 石膏 高雄市立美術館典藏
Transplant of Modern
Japanese Culture
—Introduction of Western Sculpture to Taiwan
After the defeat of the Qing Dynasty in the Sino-Japa-ness War in 1895, Taiwan
was ceded to Japan. In the following five decodes, Taiwan was a colony of Japan
and started to be indirectly exposed to Western modern culture when Japan
underwent its westernizations.
Several Taiwan sculptors, such as Huang Tu-shui, Huang Ching-cheng, Pu Tien-shen
and Chen Hsia-yu went to Japan and studied at Tokyo College of Art or under
private tutoring by Japanese sculptors. Most of the Japanese sculptors back then
were deeply influenced by style of Auguste Rodin, father of Western modern
sculpture. Even though these pioneering Taiwanese sculptors learned from their
teachers the skills and concepts of Western sculpture, which unavoidably also
kept Japanese spirits, they did not blindly acquire Western realistic styles and
expressions without integrating the philosophy about nature from Chinese
cultures and also their findings from the observation of humanity. In addition
to pursuing their own styles, they tried to pass down in Taiwan what they had
learned abroad, setting a brand-new milestone in the history of Taiwan's
sculpture development.
Modeled after the Salon, the French official art exhibitions, the Bunten
(Japanese Ministry of Education's Art Exhibition) and the following Tieten
(Japan Imperial Art Exhibition) were the two important platforms for artists
back then in Japan to display their creations. Both Japanese and Taiwanese
artists regarded being selected in either of the two exhibitions as defining
event of their artistic achievements. Huang Tu-shui, Huang Ching-cheng, Pu
Tien-shen and Chen Hsia-yu all won recognition from the Japanese artist's circle
after they were selected in the Tieten. During the Japanese colonization, the
system of official exhibition was naturally introduced into Taiwan. The Taiden (
Taiwan Art Exhibition), established in 1927,and the Fuden (Government-general
Art Exhibition), launched in 1938, both became major stages for artistic
presentations in Taiwan. However, neither of two Taiwanese official exhibitions
included the category of sculpture.
Pu Tien-shen（1912∼1996） Light of Spring
1958 175×48×51cm Bronze
Collection of Kaohsiung Museum of Fine Arts
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