楊英風景觀雕塑再認識-論公共藝術的精神性
Abstract
在戰後台灣景觀雕塑史上，楊英風先生的作品，佔了很大的影響力，除了1961年政府委託的日月潭教師會館大壁雕〔自強不息〕、〔怡然自樂〕開啟了公共藝術的先河外，繼而在1970年大阪萬國博覽會中華民國館前的景觀大雕塑〔鳳凰來儀〕在國際舞台大放異彩；之後，他又在1980年提出「景觀雕塑」的論述及精神內涵，後半生致力於公共環境景觀雕塑，最後在1997年提出「大乘景觀」論，作為他最後的獻禮。
英風先生的一生，年少時，在戰火中不間斷地求學藝術，成名後仍未間斷他的創作之手，直到生命的最後一刻。五十年來創作上千件作品，他用生命創造他的藝術歷史，他的精神、思想都值得後學者研究探討，在辛亥百年之際，「楊英風全集」經過十年陸續出版三十二大冊，即將完成，印證他一生豐碩的創作成果。
本文採歷史文獻研究法和田野訪談法，研究分析楊英風一生的觀點、論述，並從當前參與公共藝術的專家、學者、藝術家訪談及專文中，客觀分析公共藝術面臨的困境，再從景觀雕塑與公共藝術的論述、觀點中，進行兩者間的分析、比較與探討。
最後，本文從公共藝術提昇精神內涵的角度，及楊英風景觀雕塑內涵能提供的啟示，提出結論與建議，包括：（一）從公共藝術精神面的探討（二）從公共藝術實務面探討。
The works of Yuyu Yang have much influence in Taiwan’s post-war lifescape sculptures. Besides the wall sculptures of “Unremitting Efforts” and “Pleasantness” in Sun Moon Lake Teacher's Hostel that were commissioned by the government in 1961 which marked the beginning of public art, his large lifescape-sculpture “Advent of the Phoenix” displayed in front of Taiwan’s Exhibition Pavilion in the Osaka World Expo in 1970 also won international acclaims. In 1980, he proposed his theory and philosophy on “lifescape sculpture” and dedicated the rest of his life towards lifescape sculptures in public environments. Lastly, he proposed the “Mahayana Lifescape” in 1997 as his final work. Yang continuously pursued the studies of fine arts during his youth in the wartime and never stopped creating works after achieving fame until the last moment of his life. Creating more than a thousand pieces over a span of fifty years, he created his art with his life, and his philosophy and ideology are worth studying by future scholars. With Taiwan’s Republic Government celebrating its 100th birthday, the 32 volumes of “The Full Collection of YuyuYang” that were published over the past 10 years are about to complete and bear witness to his rich and creative life. Adopting the history-survey method and field interview, in this present study we objectively analyzed the perspectives proposed by Yang and the difficulties faced by public art based on the interviews with and thesis of the experts, scholars, and artists participating in public art. We then compared, analyzed and discussed the theories and perspectives of lifescape sculpture and public art. Lastly, from the perspective of spiritual-improvement through public art, and the inspiration provided by Yang’s masterpieces, we proposed two conclusions and suggestions: (1) an exploration of the spiritual side of public art. (2) an exploration of the practical side of public art.
The works of Yuyu Yang have much influence in Taiwan’s post-war lifescape sculptures. Besides the wall sculptures of “Unremitting Efforts” and “Pleasantness” in Sun Moon Lake Teacher's Hostel that were commissioned by the government in 1961 which marked the beginning of public art, his large lifescape-sculpture “Advent of the Phoenix” displayed in front of Taiwan’s Exhibition Pavilion in the Osaka World Expo in 1970 also won international acclaims. In 1980, he proposed his theory and philosophy on “lifescape sculpture” and dedicated the rest of his life towards lifescape sculptures in public environments. Lastly, he proposed the “Mahayana Lifescape” in 1997 as his final work. Yang continuously pursued the studies of fine arts during his youth in the wartime and never stopped creating works after achieving fame until the last moment of his life. Creating more than a thousand pieces over a span of fifty years, he created his art with his life, and his philosophy and ideology are worth studying by future scholars. With Taiwan’s Republic Government celebrating its 100th birthday, the 32 volumes of “The Full Collection of YuyuYang” that were published over the past 10 years are about to complete and bear witness to his rich and creative life. Adopting the history-survey method and field interview, in this present study we objectively analyzed the perspectives proposed by Yang and the difficulties faced by public art based on the interviews with and thesis of the experts, scholars, and artists participating in public art. We then compared, analyzed and discussed the theories and perspectives of lifescape sculpture and public art. Lastly, from the perspective of spiritual-improvement through public art, and the inspiration provided by Yang’s masterpieces, we proposed two conclusions and suggestions: (1) an exploration of the spiritual side of public art. (2) an exploration of the practical side of public art.
Description
Keywords
景觀雕塑, 公共藝術, 環境藝術, 生態雕塑, 大乘景觀, Lifescape sculpture, Public Art, environmental Art, eco-sculpure, Mahayana lifescape