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策展人 | 陳貺怡 

Curator | Chen Kuang-Yi

巴黎第十大學當代藝術史博士

國立臺灣藝術大學美術系所專任教授/美術學院院長

PhD in History of Contemporary Art, Université Paris X-Nanterre

Professor of Department of Fine Arts and Dean of College of Fine Arts, NTUA

《林瑞珍與尋找林瑞珍的未竟之旅》

1951年,林瑞珍出生於一個宜蘭縣南方澳的漁家。漁村生活頗為艱辛,根據弟弟林瑞發描述,當時家裡漁船的船員不夠,清晨兩三點多孩子們就得起早摸黑去幫忙裝冰,上了國中後每逢寒暑假就得跟著漁船出海捕魚。林瑞珍是家中長子,上有一位大姊,下有兩位弟弟,國小就讀南安國小,初中是蘇澳初中,高中則就讀於於羅東中學高中部。童年即表現出與生俱來的藝術天賦,父母也讓他適性發展且對他寄予厚望,「因為感覺上他就是可以幫家裡爭光的那種」1。就讀羅東高中時期,他與楊正忠、廖燦誠為同班同學,當時羅東中學因為王攀元的緣故美術風氣鼎盛2,每年至少有一位學生會考上師大或藝專。但1968年時,羅東中學初中部和高中部各自獨立,原本的美術老師王攀元被劃分到初中部。當時恰好升上高三的三人,便失去了美術老師指導,只能自行練習,並且為了準備術科考試經常聚在一起。楊正忠於高中畢業後應屆考上國立藝專雕塑科,林瑞珍於第二年重考進入藝專雕塑科就讀,廖燦誠則於當完兵後,進入國立藝專美術科西畫組就讀。其實林瑞珍在就讀羅東高中時已展現了非凡的繪畫才華,因適逢漫畫產業的黃金時期,當時即能透過漫畫的創作與投稿貼補學費。他筆名「綠虹」(或根據其大姊的說法是「林雨珍」),有可能受到風靡一時的《小俠龍捲風》的作者,漫畫家陳海虹(1918-1996)的影響。而林瑞珍算是與游龍輝(1946-)同期的後進,所繪製的漫畫曾透過漫畫社出版,可惜今日已散佚不復可尋。根據楊正忠的回憶,林瑞珍私下畫了許多武俠漫畫,他擅長編劇,漫畫風格筆調豪放而粗獷,但為了追求正規學院教育,不得不放棄漫畫創作。林瑞珍早年的藝術養成,除了王攀元老師的指導之外,在高中時期也曾受到聯勤中校郭育真在國畫方面的啟蒙。郭育真中校專擅花鳥畫,但因為林瑞珍對人物較有興趣,所以會在郭育真的宿舍裡練習仕女畫。在那個美術學習資源相對缺乏的時代,除了老師之外,就只能照著美術課本,或是珍貴的日本講談社(Kodansha Ltd.)原裝畫冊自己摸索了。......

Lin Jui-Chen and an Incomplete Journey in Seeking Lin Jui-Chen

Lin Jui-Chen was born to a fishing family in Nanfangao, Yilan County in 1951. Life in the fishing village was rather difficult. According to his younger brother Lin Jui-Fa’s account, the family’s fishing boat was short on crew members, and therefore the children had to get up at two or three in the morning to help load ice. In junior high, the children had to set out to sea on the boat every summer and winter vacation. Lin Jui-Chen was the eldest son, with an older sister and two younger brothers. He went to Nan An Elementary School, followed by Suao Junior High School and the Senior High department at Luodong High School. During childhood, as he exhibited innate artistic talents, his parents allowed him to develop his potential and had high expectations of him. “Because it felt like he was the kind that would bring honor to the family.”1 At Luodong High School, he was classmates with Yang Cheng-Chung and Liao Tsan-Cheng. At the time, because of Wang Pan-Yuan, art flourished at Luodong High School2, with at least one student being accepted into National Taiwan Normal University or National Taiwan Academy of Arts each year. In 1968, however, as the junior high and senior high departments were separated at Luodong High School, their art teacher Wang Pan-Youn was assigned to the junior high department. Moving on to their third year of senior high, the three lost the art teacher’s instruction and could only practice on their own. They often worked together to prepare for technical exams. Yang Cheng-Chung was admitted to the Sculpture Department of National Taiwan Academy of Arts the year he graduated from junior high. Lin Jui-Chen retook the entrance exam the following year and entered the Sculpture Department of  National Taiwan Academy of Arts. After the mandatory military service, Liao Tsan-Cheng entered the Western painting program at the Fine Arts Department of National Taiwan Academy of Arts. In fact, Lin had demonstrated his extraordinary talent in painting during his years at Luodong High School. As the comic book industry was experiencing a golden age, he was able to supplement his tuition by creating and submitting comics. He used the pen name "Lu Hong," (or according to his eldest sister, "Lin Yu-Chen"), which may have been inspired by Chen Hai-Hong (1918-1996), creator of The Youthful Swordsman, a popular comic book series at the time. Lin can be considered a contemporary of You Lung-Hui (1946-), whose comics were distributed by a comic book publisher, though all copies of his work have unfortunately been lost. As Yang Cheng-Chung recalls, Lin created many wuxia comics in private. Regarding his comics, he was an excellent writer, and his art style was bold and rugged. However, to pursue formal academic education, he had to quit his comics. Lin’s earliest pursuit in art, in addition to instruction by Wang Pan-Youn, was also inspired by Lieutenant Colonel Guo Yu-Zhen of the Combined Logistics Command in the discipline of traditional Chinese painting. Lieutenant Colonel Guo specialized in bird and flower painting, yet Lin was more interested in figure painting. Thus, he practices woman figure painting in Guo’s dorm room. During that period, when resources for art education was relatively scarce, aside from teachers, a student could only reference art textbooks or the precious art albums from Kodansha Ltd., imported from Japan, and learn through trial and error. ......

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協同策展人 | 賴永興

Co-Curator | Lai Yun-Hsin

金澤美術工藝大學藝術博士

現任國立臺灣藝術大學雕塑學系主任

PhD in Fine Arts, Kanazawa College of Art

Director of Department of Sculpture, National Taiwan University of Arts 

《臺灣雕塑一顆過早殞落的慧星和繼續他未竟旅程的朋友們》

臺灣的雕塑起源可以溯自原住民的生活雕塑及來自大陸的民間雕塑,因為基本都是源於生活與宗教的需要,至今仍可見於日常生活之中,再往前則可以從一些出土的史前文物探討先民的造形器物竟和太平洋周遭的島族有所關聯。而臺灣的雕塑現代化或許可以用黃土水(1895-1930)前往日本學習雕塑來做一個起點,他雖有一批作品傳世,可惜英年早逝,後雖有蒲添生、陳夏雨等人自日學成歸國,但因當時並未有專門的學校設有雕塑科系或教學課程,以致並未有正式雕塑傳承的紀錄,一直到1962年國立藝專設立三專美術科,下設國畫、西畫、雕塑三組,1967年雕塑獨立成科,臺灣雕塑的學院教育肇始於此。

 

雕塑科第一到第七屆入學到畢業間(1967-75年)的教師有李梅樹(日本東京美術學校油畫科)、何恆雄(助教)、丘雲(杭州藝術專科學校)、許和義(助理)、陳慧坤(日本東京美術學校師範科)、林瑞蕉(臺師大藝術系)、黃龜理(木雕匠師)、簡芳雄(石雕匠師)、吳樹人(西班牙國立喬治高等美術學院)、劉英宏(石雕匠師)、任兆明(西班牙國立馬德里皇家美術學院)、楊景天(副教授)、朱川泰(技術教師)、陳振輝(助教)等人,他們帶來日本,大陸、西班牙及本土的美學素養影響,在他們的教導之下,東學為體,西學為用,逐漸培育出臺灣的第一代的本土學院雕塑家,一部分出國留學,歸國後進入教育界。曾在大學任教的有屠國威(南藝)、張子隆(北藝)、蔡根(北藝)、王秀杞(明道)、陳振輝(臺藝)、黎志文(北藝)、周瑞明(臺藝等)、王慶臺(臺藝)、魏道慧(臺藝)、蔡友(臺藝)、李光裕(北藝)、阮文盟(輔仁)、陳連山(南洋藝術學院)等人,更有高振益、周瑞明等進入高職美工科教授雕塑,如此在臺灣各個層面的雕塑界,開始發揮其影響力,今日臺灣隨處可見的雕塑藝術或各種展覽會上的雕塑作品大半都直接或間接與雕塑系有所關聯。現在雕塑系教師則多具有留學經驗,早期雕塑教學以塑造為主,石雕木雕為輔,日後逐漸增加金屬造形及複合媒材等專業,逐漸形成今日的雕塑系教學的架構。......

A bright meteor of Taiwan Sculpture that fell too soon and the Peers who Continued His Incomplete Journey

The origin of Taiwanese sculpture serving the needs of life and religion can be traced back to Aboriginal art and the folk sculptures of Mainland China, traces of which can still be seen in our daily lives. Another example can be found in the unearthed prehistoric objects, in which artifacts from our ancestors can be traced to island people of the Pacific Ocean. Huang Tu-Shui’s trip to Japan to study sculpture is often considered the starting point of modern sculpture in Taiwan. Sadly, Huang died young, but he did hand down a number of works to us. At that time, two other pioneering sculptors, Pu Tian-Sheng and Chen Hsia-Yu, also returned from Japan. However, Taiwan lacked sculpture departments to keep official records of their legacies for educational purpose. It was not until 1962 that National Taiwan Academy of Arts set up College of Fine Arts, with departments for Chinese Painting and Calligraphy Arts, Fine Arts and Sculpture. 1967 marked the year when sculpture became an independent discipline in the academies of Taiwan.

The teachers of the first seven years of the Sculpture Department (1967-75) were, Li Mei-Shu (Tokyo Fine Arts School), Ho Heng-Hsiung (Assistant Professor), Chiu Yunn (Hangzhou National College of Art), Hsu Ho-Yi (Assistant), Professor Chen Houei-Kuen (Tokyo Fine Arts School), Lin Ruei-Jiao (Department of Fine Arts, National Taiwan Normal University), Huang Guei-Li (Woodcarver), Chien Fang-Hsiung (Stonemasonry), Wu Shu-Ren (Real Academia Catalana de Bellas Artes de San Jorge), Liu Ying-Hung (Stonemasonry), Jen Chao-Ming (Real Academia de Bellas Artes de San Fernando), Yang Chin-Tien (Associate Professor), Ju Chuan-Tai (Ju Ming, Technical Expert), and Chen Chen-Huei (assistant). They brought together aesthetic influences from Japan, Mainland China, Spain, and local Taiwanese culture and introduced the idea of “the Eastern learning as substance, and the Western learning as application”, all of which helped to shape the first generation of local academic sculptors. Some of them went abroad to continue their studies and returned to work within Taiwan art education. They taught sculpture at different universities, and included prominent artists such as, Tu Kuo-Wei (Tainan National University of the  Arts), Chang Tzu-Lung (Taipei National University of the Arts, known as TNUA), Tsai Ken (TNUA), Wang Hsiu-Chi (Mingdao University), Chen Chen-Huei (National Taiwan University of Arts, known as NTUA), Lai Chi-Man (TNUA), Chou Jui-Min (NTUA), Wang Ching-Tai (NTUA), Wei Tao-Huei (NTUA), Tsai You (NTUA), Lee Kuang-Yu (TNUA), Ruan Weng-Mong (Fu Jen Catholic University), Chen Lien-Shan (Nanyang Academy of Fine Arts), and Kao Jen-Yi taught at various vocational high schools. Thus this generation of sculptors influenced all levels of sculpture art in Taiwan. Today, most of the sculpture art in Taiwan, including works in various exhibitions, are more or less directly related to the NTUA sculpture department. Today, most of the teachers in the Department of Sculpture in NTUA have studied art abroad. In the past, modeling in clay was the main focus of the education, later on the courses were supplemented by stone and wood carving. In order to restructure and update the Department of Sculpture in NTUA, courses on metal art and the application of mixed media will also be introduced. ......