幾何、解剖、拓樸以及其他——臺灣當代雕塑的維度轉向

Geometry, Anatomy, Topology and Beyond–Dimension Shifting of Contemporary Sculpture in Taiwan

「雕塑」作為造型藝術的一種表現形式，其定義的界域在進入當代以後開始出現了模糊、曖昧甚或出現了一種只要敢於宣稱即可成是的狀態。可以確定的是在經歷過「前衛」的衝擊後，雕塑的定義早已脫離古典範疇的清晰和明確，甚且在「當代」的論述情境中，對造型界域的定義似乎早已不在是藝術觀念及理論上的充要條件，然而恰恰是在這看似眾說皆可成立的情境中，界域的明晰反而更成為了思考「雕塑」作為一種造型藝術形式的重要性。從定義或觀念的再演繹上看新的界域定義，那麼或者可以從過往的知識理論發展中找到若干借鏡，首先新的定義必然得以包含過往定義或者理論已然詮釋的部分，其次新的定義或者詮釋必須能夠拓展過往定義中無法涵蓋的部分與現象，最後，新的定義與觀點必須具備某種觀念與思考上的全新演繹。本論文著眼於重新將「雕塑」其獨特的定義界域，置諸於「維度」與「空間」性質的詮釋與演繹上，並重新藉此審視雕塑藝術史中的演變在「維度」與「空間」此抽象物理及數學性質上的轉化以及所承載的意義轉變。並以此為基礎，進一部探討在「維度」與「空間」性質之上，創作者其作品中所承載的文化、藝術乃至於審美特質的脈絡與意涵。

Sculpture as a category of plastic arts, however the definition of its character and qualities began blurred, ambiguous and even without any limitation, if only one dare to declare. This situation comes with the beginning of post war avant-garde, postmodernism and contemporary art. One thing for sure that since avant-garde, the definition of sculpture already beyond the classic category, moreover at the context of contemporary art, the traditional border of plastic arts are no longer sufficient qualities. Somehow just in the circumstance of any declared definition of sculpture is allowed and recognized, we need even more articulate and precise definition of sculpture qualities to ponder the importance of sculpture as a kind of plastic art. This study focus on how to redefine the definition border of sculpture, and settled on the qualities of“dimension”and“space”these two concepts. Through review the evolution history of these two concepts in physics and mathematics, we may have a new insight about how to develop a new approach to recognize, to discuss and to create the sculpture in the context of contemporary art.