王瓊麗陳朝興Wang Qiong LiChen Chao Xing吳靜汸Wu Ching Fang2020-12-102011-2-172020-12-102011http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0094603312%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114913打開戰後台灣美術，如果說黃土水以強烈的寫實風格開創了現代雕塑，那麼，楊英風則是將雕塑帶入抽象階段的標竿。楊英風一生創作風格多變、媒材創新，涵蓋層面廣泛，從平面到立體、具象到抽象，一生創作逾三千餘件。不論視覺型的寫實或內省型的抽象作品，內在思想豐富，創作造形表現多元，對台灣現代雕塑有一定的影響力。 本論文旨在藉由楊英風創作思想的本源，探究楊英風雕塑造形風格之演變及其影響。楊英風創作語彙看似簡單，但是如果仔細分析推敲，比我們所解讀的還要複雜；其造形風格大多有所依循，卻又難以明確歸類。1957年以降，一陣抽象前衛西潮席捲而來，許多藝術家開始對簡化抽象藝術，新知若渴，雕塑家也不例外的傾向幾何構成造形發展。正因如此，筆者試著從中國太極的概念，歸納有形、無形物質與無形境界；再藉西方數理「零」與無限的「壹」概念，推衍其造形變革。希望能揭開楊英風兼具傳統與創新的理念，更顯現楊氏這一生所追求的精神調和、天人合一的哲學觀。 西方的文化意念，以為「形」純粹是人類創造出來的，而從中國文化生活的應驗來看，「形」是自然的有機體，是經歷宇宙自然風吹雨淋，各樣生存上的淬礪，形貌自在流露的一種存在。 筆者冀望透過此項研究，從楊氏的小我具體「明月」緣起，到不規則的、永無休止不分內外的莫比烏斯（Moebius）金屬帶，乃至象徵大自然的整體。從理性走向感性的西方與從感性走向理性的東方，東西方開始的角度不同。藉中國陰陽五行說、西方數理科技角度之不同，試著去揣摹藝術家創作的思維。從楊英風雕塑創作之「○」與「－」造形風格，勾勒出藝術家思索的向度，為其雕塑造形重新做應證與註解。If Huang Tu-shui developed modern sculpture with his vivid style of realism after WW II, then Yuyu Yang represented the milestone of abstractionism. Yuyu Yang has created a variety of works with completely different styles and creative medium ranging from two dimensional to three-dimensional works, and from concrete to abstract works. He has created more than three thousands masterpieces during his whole life. With the realistic sculptures in visual style and the abstract works featuring the power of introspection, Yuyu Yang has created a rich variety of forms which deeply influenced the Taiwanese modern sculpture. The thesis focuses on the history and impact made by Yuyu Yang’s elaborate style of sculptures through the origin of his spirit of creation. The creation pattern of Yuyu Yang looks simple but is actually more complicated than what we had learned after careful analysis. Thus, his creations are pretty difficult to categorize. After 1957, it was overwhelmed by the avant-garde movement from the west; many artists started to produce simplified abstract art works, and the sculptors also began to create with geometric modeling. Therefore, I tried to generalize tangible and intangible worlds through the Chinese concept of Tai Chi, and through the western scientific concept of “zero” and “one” to reveal the lifetime transforming styles which Yuyu Yang had pursuit containing both innovation and tradition and the philosophy of holding communion with nature. The concept of western culture believes the “form” is purely created by human beings. However, depending on the experience of Chinese culture, “form” is a natural organism which exists leisurely and is built up for its own existing. This research is inspired by “The Moon”, from this tangible work of Yang’s to the irregular, endless Moebius strip and even to the whole nature; it analyzes from the different angles of the western art which developed from rationality to sensibility and the eastern art that from sensibility to rationality. Also, the study depicts the thought of the creator through the Chinese theories of Yin Yang and the Five Elements, and the western scientific angle. I sincerely hope I can make a new verification and interpretation for the style of sculpture to draw the outline of the dimensions of artist’s concept through the modeling style of zero and one from the works of Yuyu Yang.楊英風造形抽象雕塑景觀雕塑Yuyu YangShapeAbstract SculptureLandscape Sculpture