重複的多樣性——雕塑複製品的美學價值The Diversity of Repetition—Esthetical Value of Sculptural Duplicate
摘要
本文試圖探索雕塑之本質，特別聚焦於採用「塑造」與「翻模」方法製作而成的雕塑。 由於上述模製方法有意增加雕塑品的數量、重製其形體，此種複製的目的隱藏著複雜的作品特性。研究內容首先由複製品的歷史以及法國羅丹美術館（Musée Rodin）違法鑄造作品造成的醜聞來分析，企圖為青銅雕塑偽作下定義；其次回顧雕塑家奧古斯特．羅丹（Auguste Rodin，1840-1917）的創作方式，並參照美國藝術評論家羅莎琳．克勞絲（Rosalind E. Krauss，1941-）的主張，解釋雕塑的複數性特徵；文末從美學觀點重申雕塑的偽作與雕塑複製的價值。藉此研究的結果，期望能進一步認識雕塑傳統，在創作上益加準確地運用雕塑語彙。
關鍵詞
鑄造、複製品、美學
Abstract
The research aims to discuss the essence of sculpture refers to the methods of molding and casting.
The study would make a definition for duplicate by analyzing the content includes the history of duplicate and the scandal that Musée Rodin illegally casted bronze sculpture. By consulting the ways Auguste Rodin (1840-1917) composed his original works and the art critics Rosalind E. Krauss (1941-) claimed, the study would expound the features of multiplicity that sculpture owns. Besides, the research would also ingeminate the value of both duplicate and reputation according to esthetics.
When inspecting the human history and pick those moments as cherishing the memory of from it, we find a kind of possibility about the strength of commemorating sculpture, which specified the disappearance emotion of human. As time goes on, these objects and things evolve as a kind of possibility of exploring oneself; besides having the function of preserving memories in the past time, they are the reclamation of forms in a bigger facet. This text attempts to analyze in the space-time marks of the sculpture monument, concludes a kind of transition of the meaning, and wishes to excavate out the depth possible energy which was buried in forms and contents as the way of viewing commemorative sculptures' development to show another aspect.
Keywords
memorial sculpture, spirituality, the faith of the times, real, space
Ju Ming was born in Miaoli, Tongsiao, from a traditional wood carving master origin, to become student of Yuyu Yang, and then evolved into the artist's process of Taiwan's representation has been well known. Ju Ming background coupled with the rise of the specificity of art, so naturally become a legend of the narrative pattern of the source, making the eyes of each person Ju Ming is a time-series shape with layers of stuffing from the image so that those people who are already familiar with the figure may seem to blur together instantly.
Ju Ming from the first solo exhibition in 1976 to become famous since, to date, more than thirty years, in view of the current Ju Ming related research has yet to have a comprehensive review. This paper is therefore the hope of return to the starting point to explore the historical context of implied, but also sorted out the period of study for the main axis of Ju Ming, the era of the Ju Ming is the focus on the placement? Also what their characteristics, have lived in the Ju Ming discusses the relationship between the sequence of text, will help us as a Ju Ming discusses the basis for the development of artistic career, as well as the future for the Study of Ju Ming-related writing and argumentation perspective will gradually clear, physiognomy.
Also hope that eventually the accumulated and deepening understanding of the Ju Ming and understanding to enable us to clarify and closer to their true face.
Keywords
Ju Ming, Modern Sculpture, Taichi Series, Living World Series, Art as a spiritual discipline
In the world of silence, hearing impairment often leads one to vent his mental and emotional agony and depression by means of artistic creation that usually demonstrates strong self-awareness. In the process of research, it took me a long time to adjust mood and further investigate the deeper meaning and possibilities of the field of art and explore the expression I wanted. In the end the material that's the most familiar with was utilized to explore the content of art and to allow art to express itself in proper means and to allow audience to access to it; in this way, elements such as the author, spectators and surroundings also become part of the works.
This was primarily based on personal works. At last personal unique lexicon was sorted out: the relationship between elements and structure, the relationship between works and space; especially personal style tends to seek the lover for linearity, the density and illusion caused by works' shadow, the relationship between indistinguishable virtuosity and concreteness, and the ambiance between space and time. In particular, there's a desire to touch sculpture works; therefore the deeper sense of physical intervention of the audience was further investigated. At last, it's hoped that issues such as the practice of personal creation and change of personal mood could be clarified to identify the traits of the author, to seek out breakthroughs in the future world of art and to create a realm of new language of art of my own.
Keywords
linearity, linear structure, extension, physical intervention
