隨美援時代而來的「現代化」—台灣現代雕塑的抽象造形探索
1951年「美援時代」來臨，美國文化也跟著經濟援助源源不絕地輸入台灣，台灣隨之興起了一股現代主義風潮。結果，戰後在美國興起、並讓紐約
終能逼近巴黎站上國際藝術潮流主導地位的「抽象表現主義」（Abstract Expression），本來也只是一支強勢的前衛藝術流派，卻被「五月」、「東方」等由年輕一代藝術家組成的畫會善加運用，借殼上市成為「現代藝術」的代名詞，並在激烈論戰當中，以「中國山水的新傳統」躍上主流地位，一一瓦解了日治時期五十年來早已融入台灣本土的第一波美術現代化基石、庇護於「復興中華文化」大旗下的傳統衛道勢力、以及中國在五四以後的美術現代化成果。
只是這樣轟轟烈烈的藝術論戰似乎只限於平面繪畫，雕塑方面則未受到很大的衝擊。大體而言，1980年代以前，寫實的塑形雕塑仍是主流，另一方面則感應現代主義的驅力開始抽象的造型探索，並逐漸發展出一種普遍使用的形式語言：從人物、動物、植物等具象形體加以變形轉化；從古中國的圖象紋飾、書法線條汲取抽象的造型；以具象徵意義的符號造型表現東方傳統哲思形而上的概念。這種折衷東西方形式的風格直到1990年代仍然是台灣抽象雕塑的主力之一。
我們可以從二位背景極端的代表性人物—楊英風與朱銘—的創作歷程看到現代主義對台灣雕塑發展之啟發與影響的縮影；此外，陳庭詩、李再鈐則是兩位受中國傳統思想滋養卻勇於踏進現代主義潮流的雕塑悍將。
李再鈐（1928∼） 虛實之間
1986 120×60×30cm 不鏽鋼、硫磺銅 高雄市立美術館典藏
Modernization during the "American Aid Period"
—Taking Abstraction into the Three Dimensions in Taiwan's Modern Sculpture
The year 1951 marks the beginnings of the so-called "Period of American Aid" and
the beginning of a continuous influx of American cultures into Taiwan hence
after. Emerging in the United States after World War II, the avant-garde art
movement "abstract expressionism" enabled New York to keep abreast with Paris
and even gain the leading position in the international artistic communities.
This pervading Western art movement was adopted and transplanted by young local
artist groups, such as the Fifth Moon Group and the Tung Fang Group, into Taiwan
as a synonym of "modern art." What they did triggered a series of polemics and
the introduced abstract art, labeled as "a new tradition of Chinese landscape
painting," completely shattered the foundation laid by the first-wave art
modernization during the past 50 years starting from the Japanese colonization
period, undermined the traditionalism and conservatism that had been sheltered
in the name of "reviving the great Chinese cultures" and broke off connections
with the art modernization in China since the May Fourth Movement.
However, this artistic polemic was limited to painting, casting no significant
influence on sculpture making. Generally speaking, representational sculpture
still predominated before the 1980s while the exploration of abstraction in
sculpture driven by modernism was only starting. Nevertheless, a new form of
artistic language truly started to develop in sculpture─a language that
transformed the representational images of humans, animals and plants into
something abstract, developed abstraction from ancient Chinese patterns and
calligraphy, and expressed traditional and metaphysical concepts of the East
with visual symbols. This style of combining both Western and Eastern forms was
one of the mainstreams of Taiwanese sculpture until the 1990s.
The inspiration and influence of modernism on Taiwan's sculpture development can
be seen from the creations of two representative sculptors: Yuyu Yang and Ju
Ming. In addition ,Chen Ting-shin and Lee Tsai-chien are another two
representative sculptors who were first nourished on traditional Chinese
philosophy but still brave enough to embrace and experiment with modernism.
Yuyu Yang (1926~1997) Modern Symbol
1993 300×225×180cm Stainless steel
Collection of Kaohsiung Museum of Fine Arts
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