兼容並蓄的多元文化—台灣現代雕塑的多元化開展
1980年代，隨著高度工業化創造的經濟奇蹟與政治環境的逐步開放，台灣社會也產生了急遽的變化，政府、企業與民間都呈現出前所未有的旺盛活力。台灣當初受西方現代主義思潮吸引而產生出國留學潮，到了1980年代，許多長年居留國外的留學生洞察到台灣未來發展空間的寬廣，選擇回國定居，將其所學且深刻體會的歐美文化思潮、藝術觀念技法帶進國內，不但實踐在創作當中，也注入了學院的教育體制與社會的藝術運作機制。解
嚴後由於政治、經濟、社會各方條件的配合，台灣藝術的發展，不再只是社會倫理道德下的美學產物，也不再只是在不同政權替換下形式上的折衝因應，藝術家對於藝術本身以及自身所處社會環境都有了更自主的意識與多元的價值選擇。雕塑的發展，在材質、技法、造形、空間、觀念各方面都有了新的突破。
台灣自1990年代起開始實施「公共藝術」相關法案，以期改善公共空間的環境品質、提高公眾的生活美學素質，並提供藝術家更多創作的機會。以雕塑的特質來說，往公共藝術的方向發展，無疑走到了另一更寬闊也更複雜的層面。另外，許多政府部門或民間單位舉辦國際雕塑創作營或設置雕塑園區，為雕塑家提供另一類型之創作、觀摩與永久設置作品的機會。
董振平（1948∼） 風•林•火•山
1992 260×380×300cm 銅鐵、杉木
高雄市立美術館典藏
Cultural Diversity and Plurality
—Diversified Development of Taiwan's Modern Sculpture
In the 1980s, with the Economic Miracle
brought by intensive industrialization and with the gradual deregulation in the
political environment, Taiwan was seeing drastic changes while the government
and the private sector were both showing unprecedented vigor and vitality. Also
in the 1980s, many of the artists, who had stayed abroad to study modernism,
noticed the broad possibilities in the future development of Taiwan and decided
to move back. They brought back with them what they had learned and experienced
from Western
cultural thoughts and artistic concepts and techniques and infused new blood
into the art education and the social mechanism of art development. After the
lift of Marital Law, along with the diversified social, economic and political
developments, the art development in Taiwan was no longer merely an attachment
to the social ethics and moral system or a propaganda tool of the government.
Artists started to have more autonomous consciousness and diversified choices
about the arts and social environments they preferred. Meanwhile, the sculpture
development in Taiwan was showing innovative breakthroughs in materials,
techniques, forms, space and concepts.
In the 1990s, the first legal act concerning "public art" was put into practice
in Taiwan with a view to improving the quality of public space elevating the
life aesthetics level of the public and providing more opportunities for
artists. For sculptors, the development into the direction of public art
unquestionably meant entering a broader and more complicated horizon. In
addition, many organizations of the government and the private sector also held
international sculpture symposia or built sculpture parks, providing sculptors
with another type of opportunities of showing creativity, learning from others
and producing permanent installation.
Wu De-Chun（1953∼） A Woman Speaker
1988 89×42×45cm Iron
Collection of Kaohsiung Museum of Fine Arts
Lin Cheng-jen（1957∼） The Island
1988 45×25×20cm African dark granite
Collection of Kaohsiung Museum of Fine Arts
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