臺灣日治時期的西式雕塑

Abstract

本文以時間為脈絡，輔以資料性質之差異，在時空交織的歷史進程中以四個章節來探討臺灣日治時期的西洋雕塑藝術的發展。在每一章不同的年代裡，討論藝術家、作品、創作活動之間的複雜關係。首先是配合都市景觀而移植的銅像建設，以及其在西洋雕塑藝術上的意義。1920年至1930年間，本土首位雕塑家黃土水造就臺灣美術史上的一次高峰。之後接棒的是日籍作家所構成的臺灣雕塑活動，包括灣生與日本在野團體成員來臺製作肖像、展覽等活動，同時報上亦頻繁刊載西式雕塑的相關介紹與美學評論。1937年後受戰爭影響，來臺的雕塑家轉以軍事活動為目的。在此之際，本土第二代雕塑家業已學成，陸續參與臺灣美術活動。然而，戰後僅有蒲添生與陳夏雨延續日治時期的雕塑血脈。綜觀日治時期的西洋雕塑，在缺乏基本美術教育資源、創作環境、經濟贊助的情形下，在殖民的過程中降臨。其並不是自然地從固有傳統中傳承蛻變，亦非有計畫的培育成長，形成沒有根、圍繞著日本核心的零散發展模式。

This thesis explores the development of the western sculpture in Taiwan under the period of Japanese Rule. Each chapter selects a scope of different decade to discuss the complex relationships between artists, artworks and artistic productions. The first chapter researched the establishment for memorial statues before 1920. During the period of 1920-1930, the artworks by sculptor Huang Tu-Shui managed to reach the peak in the annals of fine arts. Then, the Taiwan sculptural activities constituted of Japanese artists made another run. After 1937, the war impact guided the sculptor’s work towards the theme of military activity as the main purpose. Meanwhile, the second generation domestic sculptors from indigenous population finished off their learning and gradually participated to the fine arts activities here in Taiwan. In retrospect, the western sculpture in Taiwan under the period of Japanese Rule formed into model development, encircling the Japanese fine arts as the core value under the environmental conditions lacking the basic humanities.