形象／意象／意念／觀念——楊英風雕塑創作的四個時期

Form, Image, Ideas and Concepts–Four Periods in Yu Yu Yang's Sculpting Art

楊英風（1926-1997）是台灣戰後最具代表性與影響力的藝術家之一。作為一位藝術家，楊英風無法以單一的油畫家、版畫家、攝影家、漫畫家、美術設計家，或雕塑家、景觀規劃家，甚至雷射藝術家來界定他，因為他的創作領域廣泛、運用媒材多樣、手法新穎前衛、思維深邃宏大。但在諸多的成就中，仍以雕塑創作的成果，最具整體性與持續性的發展脈絡，深為學界及一般人所認同。本文僅就楊英風雕塑創作的歷程，分作四個時期，加以檢視分析；包括：最早的「形象」時期、旅義三年的「意象」時期、自義返台創作「太魯閣系列」的「意念」時期，以及最後以不鏽鋼為媒材，結合中國傳統龍、鳳、日、月、宇宙等文化符號的「觀念」時期；並對「景觀雕塑」的內涵作一印證。期對楊氏雕塑創作的發展有一具體的掌握、詮釋及體認，作為一般人觀賞、創作者學習、研究者探討的參考。

Yu Yu Yang（1926-1997）was one of the most critical artists during the post-war period in Taiwan. He was so versatile that no single artistic titles would suffice to describe him. He was an oil painter, a graphic artist, a photographer, a cartoonist, a product designer, a sculptor, a landscape planning specialist, and even a laser artist. It is because he had worked on so many fields of art, applied such a great variety of materials to his works, developed such unprecedented avantgarde techniques and expanded his profound thoughts of art, that he had become so influential. Among his various achieved works, Yang's series of sculpting art is recognized by both researchers and the general public for its strong coherence and completeness. This article examines the artist's development course of sculpting art by dividing it into four periods: the initial period in which“form”was explored; the period of“image”during his years in Italy; the period of“ideas”when he returned to Taiwan to create the“Taroko Gorge”series; and the“concepts”period when he incorporated traditional Chinese cultural symbols, such as dragons, phoenixes, the Sun, the Moon, and the Universe into his stainless steel sculptures, while reflecting on the meanings of landscape sculpting. It is hoped that, by analyzing the course of development of Yang's sculpting art, this article would serve as reference not only for researchers to further explore his works, but also for other artists to learn about and interested members of the public to appreciate Yang's creation.