戰後台灣戰鬥文藝政策下的雕塑創作

The Sculptural Creation under Cultural Policy of Literary and Art with Fighting Spirit from Taiwan after War of World II

國民政府遷台後初期，因應當時台灣特殊的時空背景，以「美術救國」為目標，推動一系列具有戰鬥精神的文藝運動──「戰鬥文藝」；在官方與社會兩方面大力鼓吹下，蔚為當時文藝界的主流。在時過境遷一甲子後的今日，回顧當時的文藝政策及美術表現，從這些富有特殊題材及涵義的美術作品中，可以具體觀察當時社會的人文現象，並探討這段時期美術與政治的折衝關係。本文擷取1949年至1984年橫跨前後三十五年時間，依當時文藝政策的發展及造成之影響，劃分成四個時期分別論述，論述內容包含當時的政治氛圍、政策走向及實際的美術活動與雕塑作品表現。本文試圖秉持較客觀、寬廣的立場，重新檢視這段被漠視的美術歷史，希望引領讀者能用更大格局的眼光來重新認識，看待這段特殊歷史情境下的特殊作為與成就。

In the early stage soon after Kuomingdong government retreated from China to Taiwan, a series of literary and art movement with the“fighting spirit”(or military literary and art) was introduced and greatly promoted across the island with both social and governmental propaganda machine. The literary and art movement with fighting spirit had become the main stream of literary and art at that time. As we look back, sixty years later, at the literary policy and the artistic expression at that time, and from these special topics and contents of the art work, we can look into objectively the humanity of that society and examine the conflicting and relationship between the politics and art during this period of time. This research covers thirty five years of Taiwan literary and art from 1949 to 1984. It is divided into four periods according to the development of literary and art policy and its influence on the society. The political atmosphere then, the direction of the policy, the actual activity of art and artistic expression exhibited by art works are covered in this work. The neglected art history of this period has been re-examined with an objective and broad viewpoint. It is hoped that the readers will look at this work with a greater and broader view in analyzing and judging the art history of this period.