鄉土？現代？後現代？朱銘雕塑藝術的自主性、隨機性與人間性

Nativism? Modernism? Postmodernism? Humanistic Nature in Ju Ming's Sculptural Art

綜觀朱銘卑微的出身，一生奮進向上的成果；他跨越半世紀的活動足跡遍及了全球時空，這段期間宏觀的環境歷經了盛現代、現代末期、後現代、後殖民、全球化等階段。在臺灣不同時期有著其自身對這些宏觀環境的受容、反省、接納、反撲、抵制、吸收、再造、變異等過程。朱銘穿梭於臺灣與全球的時空，種種內與外的相互影響與抵制，形成有趣、多樣的變異網絡現象，足供學者從不同向度剖析朱銘及其雕塑藝術。本文以「鄉土？現代？後現代」為命題，一方面接受並採納這些斷代分期，從歷史背景分析鄉土與現代的理論結構對朱銘的影響與朱銘的自我定位衝突之處。另一方面，走過七零年代後，朱銘開始向西方世界發展，此時正值現代主義沒落，後現代展開批判精神的時期，續之以後殖民等過程，至今學術界以全球性、區域性文化研究深入探討與觀照文化發展。鑑於此，本文第二段嘗試以這時期的文化特徵觀照朱銘自八零年代以來創作的《人間系列》。本文最終則試圖突破鄉土、現代、後現代觀念的堅固界線，從微觀的立場剖析朱銘的主觀藝術抉擇與外在環境（中、宏觀）之遇合產生的必然與偶然或二者兼具的特性，以茲為背景來觀察朱銘的《人間系列》創作，並建議從「自主性」、「隨機性」和「人間性」來看朱銘從鄉土到人間一貫回歸生活面的創作理念。

Despite his humble origins, Ju Ming’s ceaseless effort has earned him worldly fame and opportunities throughout the globe over the past half century. During this time, high modern, late modern, postmodern, post colonial and globalization phases have come and gone, and Taiwanese society has responded to these changes accordingly. Ju Ming’s traversal between the local and global environments has doubtless enriched his perspective and artistic oeuvre, which has in turn challenged scholars to generate various ways to frame Ju Ming’s sculptural art.“Nativism? Modernism? Postmodernism?”adopts these periodizations to examine the impact of Nativism and Modernism on Ju Ming and how the artist established his own artistic identity, and examines how Ju Ming’s venturing into the Western world coincided with the rise of Postmodernism, followed by Postcolonial discourse. This paper will additionally focus on how Ju Ming’s Living World Series corresponded to this global trend. Finally, this paper proposes to discard the periodization of Nativism, Modernism and Postmodernism to allow a new perspective on how Ju Ming’s personal choices coincided with these global shifts with increasing spontaneity. Through this examination, we may better understand the artist’s autonomy, spontaneity and humanity as a means of recognizing his consistent philosophical perspective on art creation.