動中禪定．李光裕 Meditation amid Motion．LEE Kuang-Yu

Lee Kuang-Yu was born in 1954 in Taiwan. In the early 1970, he entered the Department of Sculpture of the National College of Arts (predecessor of the National Taiwan University of Arts). Following graduation in 1975, he went to Spain to study western sculptural technique and theory in Real Academia de Bellas Artes de San Fernando and Universidad Complutense de Madrid respectively and studied with the celebrated sculptor Toledo. On returning to Taiwan, he taught at the Taipei National University of the Arts and the National Taiwan University of Arts, retiring in 2006 to devote himself to his work. He continues to sculpt to this day. Lee Kuang-Yu’s thinking unites modernist and traditional forms, so that abstract forms appear amid figurative pieces. His art marries eastern culture to artistic creation, producing forms full of a highly individual sculptural aesthetic.

His work has previously been exhibited in Spain, Austria, Japan and Singapore. His works can be seen in the public spaces or National Taiwan University Hospital MRT station, on Civic Boulevard, and at National University of Kaohsiung.

Within Taiwan, three major galleries have collected many of his works.

LEE Kuang Yu

Meditation amid Motion

06

“The whole world is in flux, and we need Zen tranquility to find existential wisdom in an uncertain world.”

— LEE Kuang-Yu

萬物都處於變動之中，我們需要如禪思般的靜定， 找尋人世間的生存智慧。 ̶ 李光裕

07

08

映月 The Reflection of Moon

銅 Bronze, 160x110x125cm, 2006

09

The Nature of Creation – Awareness of Beauty is Awareness of Existence

創作本質—美的意識即是生存意識

In the ever-changing course of human life, people advance relentlessly on a road interspersed with peaks and valleys. There are some who wear a crown for you and there are some who leave you thorns and brambles. For Lee, whether smooth or winding, we are inwardly caught up in the search for a safe road. Art is a process, and also a solution to this problem.

在瞬息萬變的人生軌道上，人們總在高峰與低谷交織的道路 上前進。有人會為你戴上光環。也有人為你送上荊棘。無論 平坦與曲折，在內在糾結中尋求身心安頓的路，藝術是過程， 也是答案。

10

11

There is only one thing in my life: the relationship between existence and art.

12

我的人生只有一件事，就是生存與藝術的關係。

13

千里眼 Clairvoyance

106X67X45cm 石膏 , 2016 新作

14

“On one hand, man is caught up in enjoyment of reality; on the other, this is also the source of his dissatisfaction. Thus, he attempts to find spiritual pleasure in escape from reality. Thereupon he finds himself removed from the original beauty of natural forms, and yearns for the beauty of the unnatural, or the inhuman. Even in the beauty of surrealism, the spirit is able to fly in exaltation.”

— LEE Kuang-Yu

人一方面在現實的享受中，一方面也有不滿足之處，因此試 圖尋找脫離現實的精神享受。於是超脫自然形體原本的美麗， 而嚮往非自然界或非人間的美感，甚至在超現實的美感中， 精神得以飛揚超昇。 ̶ 李光裕

15

Lee Kuang-Yu embodies the spiritual

李光裕具體實踐中國文人從自然界獲得

instruction of cultured Chinese deriving

創作啟迪的精神導引。傳統中國文人畫

inspiration from the natural world... by

經常藉景抒情，透過對自然環境的長成

expressing his soaring internal freedom

情況來傳達內在翻飛跌宕。境遇的消長，

through the growth of the natural

總是默默服膺著自然界植物的榮與枯，

environment. The ebb and flow of

而唯有經由山水的洗滌，才能讓自己的

circumstance always pays silent heed to

身心找到可以安頓的處所。

the flourishing or withering of plants in the natural world, and it is only by going through the landscape's cleansing that one can allow oneself to find a refuge.

— CHENG Na-Ming Editor of Chinese Contemporary Art News

16

— 《當代藝術新聞》雜誌總編輯 鄭乃銘

順風耳 Clairaudient

112X55X56cm, 石膏 , 2016 新作

17

Although Lee Kuang-Yu was long ago assigned a position of importance in Taiwanese sculptural history, his present cultivation of a new manner expressing himself and his success in both preserving and advancing creative vitality lead to us to the question: Why exactly has this continued evolution and advance of impelled artist creativity and history writing come about? I myself believe that it is not only the life force that artists rely on, but is also the source of the power that allows us to appreciate and discuss an artwork and is a prerequisite for innovation and new manifestations to emerge….The movements of this gargantuan are linked by a majestic, billowing force; and this mysterious force is given a magnificent, lofty name: it is known as the “élan vital”.

— WU Shu-An, Art Critic

18

李光裕早已在台灣的雕塑歷史中被賦予相當的位置，但持續 且推進的創作生命力，又使得他今日以另一種姿態展現自 身，... 那 麼， 成 為 藝 術 家 核 心 關 懷 的 生 命 潛 能（virtualité de vie）究竟為何？ ... 其不僅是藝術家賴以為生的生命能量， 也是我們能夠在此欣賞並談論一件藝術品的力量來源，更是 支撐一切生命與物質存有得以存在，且能夠不斷變化、創新 並展現不同樣貌的先決條件。... 此乃由一道波瀾壯闊的強悍 力量所貫穿；而這神秘力量也有個宏大而壯麗的名字，其喚 名為「生命衝動」（élan vital）。

— 藝評家 吳樹安

19

「空行」曾於義大利威尼斯

有盛名的的雕

塑展 Open 18. International Exhibition of

Sculptures and Installations 展出，靈動的 姿態為水都的古色風情增添更多活潑與趣味 想像，並傳遞東方人文的意藴內涵。

空行 Empty Procession 銅 Bronze 89x87x181cm, 2014

The style of the work Empty Procession was inspired by the kanzhoima of Tibetan Buddhism, having the image of “dancing in the air.” In this work, a piece-like structure formed by flowing lines similar to the lines of calligraphy is used to depict the kanzhoima dancing in the air with a joyful expression. Lee also introduces the meaning of kanzhoima, stressing individual selfreflection, understanding and enlightenment, to finally achieve the transformation of the physical body into the body of truth.

〈空行〉的作品造型取自藏傳佛教的「空行母」，具有「空 中舞者」的意象。如書法線條的片狀結構刻畫動感，營造空 行母在穹蒼中舞動的歡快表情。李光裕也引介「空行母」之 意，強調個人透過內觀自省，體認且領悟道意，終能轉化肉 身為真理之身。

21

22

23

妙有 II Transcendental Existence II 銅 Bronze, 39x23x69cm, 2001

24

Borrowed Scenery – The Combination of Man and Nature

借景造境—心性與自然之性的結合

Plants flourish, light and shadow spills over interlocking branches, between tree-shaded mountains – the alternating richness of plants and space can be seen everywhere – the space is there in order to welcome the next ripening; this is nature's wisdom.

Lee’s sculpture is digging holes in form, kneading matter and space, it is inspiration which has its origins in nature, echoing the firmness of life with layer upon layer of cumulative matter.

花木扶疏，光影在林木交錯中灑落，樹蔭山石間，處處可見 植物與空間交替的豐富—原來，空缺是為了迎接下一次的完 滿，這是屬於大自然的智慧。 雕塑造型上的挖洞，李光裕的作品交揉著虛實空間，是源於 自然的啟發，以層層積累的立體層次，引入山林之境，回應 生命的厚實。

25

凝 III Meditation III

銅 Bronze, 81x81x106cm, 1995

26

“From a micro perspective, creation is a delicate tattoo of the remembrance of an object imprinted onto the brain, allowing individual temperament and natural character to approach each other to the point there is practically no distinction between the two. From a macroscopic perspective, creation is not a simple imitation of life but rather the use of impressionism and localization to represent an object, so that one’s own viewpoint ascends to the heights and can undertake contemplation and exploration of the whole.”

— LEE Kuang-Yu

創作，從微觀來看，是細細的品嚐印在腦海裡的烙痕，讓人 的心性和自然之性相互接近，甚至幾乎沒有差別。從宏觀的 角度來講，創作不是單純的模擬生活，而是以寫意和局部的 方式呈現作品，將自己的視點飛昇到某一個高度上，做全然 的觀照與探索。 ̶ 李光裕

27

28

荷畔 Lotus

銅 Bronze 94x64x176cm, 2007

Lee’s Lotus combines the Lotus flower and the human body, the woman's form solid yet insubstantial, withdrawing between the shadows of the lotus, as if awakening to the profundity of life's promise and shifting nature through depicting the body's illusory nature.

在〈荷畔〉這件作品，李光裕將人體與荷葉合而為一，女子 身體造形亦實亦虛，遁入荷葉殘影之間，似乎是透過描繪身 體的虛幻，洞察生命似有與無常的奧義。

29

30

31

32

李光裕雕塑園區 The sculptural garden of LEE Kuang-Yu

33

34

李光裕雕塑園區 The sculptural garden of LEE Kuang-Yu

35

Meditation amid Motion – Reflection on the Nature of Life's Inconstancy 動中禪定—無常人生的本質觀照

36

37

太極 Taichi

銅 Bronze, 35x32x82cm, 2013

38

“When facing problems in an oppositional world, it is not necessary to seek resolution, but instead one should study understanding, study transformation, and seek to avoid becoming blindly immersed in the whirlpools of the negative.

This world is an eternal return to suffering, but is also the road to transcendence. The two engender each other, and are mutually interactive.”

— LEE Kuang-Yu

在一個相對的世界裡，面對問題，不見得要尋求解決，而是 要學習理解，學習轉化，而非一直沈浸在負面的 活在

渦裡。生

個世界，是痛苦的永恆回歸，卻也是一條走向超越的

路徑，兩者是相生的，也是互動的。 ̶ 李光裕

39

伏心 Subduing

銅 Bronze 147x125x237cm, 2014

The works of Lee Kuang-yu convey his life philosophy and his reflections and enlightenment in face of the unpredictability of life.

Subduing was inspired by the story of The Arhat Who Tamed a Tiger, showing the expression of the tiger after being subdued by the tremendous magical power of the warrior, portraying dramatic dynamism of movement and vividly depicting the colossal power and courage of the warrior who is able to vanquish such a fierce beast. The extreme bravery shown in the face of the fierce wild beast is used by Lee as a metaphor for self-transcendence, overcoming the limitations of the mind and subduing greed, hatred and ignorance.

41

42

李光裕的作品蘊含個人對於生命理念的傳達，以及他面對無 常人生的反省與體悟。在〈伏心〉這件作品中，李光裕以東 方文化「伏虎尊者」造型作為發想，透過武士一躍而下的龐 然神力，老虎因被降服的表情，呈現如戲劇般的動作張力， 生動地刻畫武士成功制服猛獸的沛然能量與膽識。李光裕以 這件作品比喻面對猛獸的無畏勇氣，其實也是個人克服內心 極限，降伏貪嗔痴的自我超越。

43

44

「伏心」與紐約可樂娜公園 (Corona Park, New York) 的著名地標— 「地球儀」相互輝映，呈現龐然的雄偉氣勢。

45

思惟 Thinker

銅 Bronze 127x130x227cm, 2014

Thinker was inspired by the Metteyya Buddha image of Eastern culture. With concise, light, unhurried but powerful line transition, Lee Kuang-Yu depicts the expression of a person deep in thought.

The work also borrows the creative meaning of “between the real and the incorporeal” of eastern art, using a plate-shaped structure to form a spatial style in which real and unreal are intertwined. No matter where he is, the thinker merges into the surrounding space, the space around becomes his own spiritual world, like entering a place with no one else during deep contemplation. And it is the essence of “All reality is a phantom, and all phantoms are real.”

46

47

48

「思惟」在威尼斯利多島 (Lido Island, Venice) 廣場上的專注沈思，令人動人。

49

50

〈思惟〉的創作靈感源自東方文化的「思惟彌勒像」，簡潔 且輕盈、舒緩又帶有勁道的線條轉折，勾勒思惟者專注且不 容撼動的沈思神情。作品亦援用東方藝術「有無相間」的創 作內涵，以片狀結構建構虛實交替的空間造型，彷彿無論處 於何處，無論如何處於動盪，思惟者都得以融入周遭空間， 一如冥想靜思後如入無人之境，四周環境都融為己身的精神 世界，也作為人世「一即一切」的本質觀照。

51

“A truly stable, mature individual will not be influenced by any circumstances, he can make use of any source and any material.”

— LEE Kuang-Yu

52

真正穩定、成熟的人，無論環境如何變動，都不會被影響， 任何素材、任何材料都可以為他所用，無論人生，或創作， 都是。 — 李光裕

53

李光裕 LEE Kuang-Yu

LEE Kuang-Yu was born in 1954 in Taiwan. In the

1954 年 生 於 台 灣，70 年 代 中 期

early 1970, he entered the Department of Sculpture

在台灣完成學院雕塑訓練後，負

of the National College of Arts (predecessor of the

笈西班牙聖費南度皇家藝術學院

National Taiwan University of Arts). Following

及國立馬德里大學美術學院研習

graduation in 1975, he went to Spain to study

西方雕塑技法與理論，師承著名

western sculptural technique and theory in Real

雕塑家托雷多。學成歸國後任教

Academia de Bellas Artes de San Fernando and

於台北藝術大學、台灣藝術大學，

Universidad Complutense de Madrid respectively

直至 2006 年退休，創作至今。李

and studied with the celebrated sculptor Toledo.

光裕以融合現代與傳統、具象中

On returning to Taiwan, he taught at the Taipei

帶抽象的形構方式，結合東方文

National University of the Arts and the National

化於藝術創作，形塑出極富個人

Taiwan University of Arts, retiring in 2006 to

特色的雕塑美學風格。曾於紐約、

devote himself to his work. He continues to sculpt

威尼斯、西班牙、奧地利、日本、

to this day. LEE Kuang-Yu’s thinking unites

新加坡等地舉行展覽。台北市立

modernist and traditional forms, so that abstract

美術館、國立台灣美術館及高雄

forms appear amid figurative pieces. His art marries

市立美術館收藏其多件作品。台

eastern culture to artistic creation, producing forms

大醫院捷運站、市民大道及高雄

full of a highly individual sculptural aesthetic. His

大學亦可見其多件大型公共藝術

work has previously been exhibited in New York,

作品。

Venice, Spain, Austria, Japan and Singapore. His works can be seen in the public spaces or National Taiwan University Hospital MRT station, on Civic Boulevard, and at National University of Kaohsiung. Within Taiwan, three major galleries have collected many of his works.

54

55

Biography 1954

Born in Nei-Wei, Kaohsiung, Taiwan

1975

Graduated from Sculpture Department of National Institute of the Arts, Taiwan

1982

Graduated from Real Academia de Bellas Artes de San Fernando, Spain

1983

M.F.A, Universidad Complutense de Madrid, Spain

1984-2006

Professor of Department of Fine Art, Taipei National University of the Arts, Taiwan

2000-2006

Professor of Department of Fine Art, National Taiwan University of Arts, Taiwan

2006-Now

Retire from TNUA & NTUA. Currently active as an artist.

Selected Exhibitions 1981

Spain Fall Salón , Spain

1982

Spain Coin and Relief Design Exhibition , National Mint of Spain, Spain

1988

The 3th Asia Art Exhibition , Fukuoka Art Museum, Fukuoka Japan

1992

First solo exhibition, Leisure Art Center, Taipei, Taiwan

1995

Austria Graz International Sculpture Craft Workshop Exhibition , Graz, Austria

1999

Volume & Form , Andres Contemporary Art Pte Lte, Singapore

2009

Life, Illusion of Bodies , Kuandu Museum of Fine Arts, Taipei, Taiwan

2011

Life, Illusion of Bodies , National Taiwan Museum of Fine Arts, Taichung, Taiwan

2012

Moving In , Chini Gallery, Taipei, Taiwan Mind Space , Chini Gallery, Taipei, Taiwan Red Pine , Chini Gallery, Taipei, Taiwan

2013

128 Art Street , Chini Gallery, Taipei, Taiwan Atmospheric - Between Stir and Still , Chini Gallery, Taipei, Taiwan Purity: The Power of Thought , Chung Yo Department Store, Taichung, Taiwan

2014

Mountain．Emptiness , Chini Galley, Taipei, Taiwan.

2014 – 2015

A Symphonic Concoction : Sculpting Art in Taiwan in the 1980s, Juming Museum, Taipei, Taiwan

2015

Open 18. International Exhibition of Sculptures and Installations , Piazzale S. M. Elisabetta & Blue Moon Square & Hilton Molino Stucky Hotel, Venice, Italy THE MOMENT: Contemporary Taiwanese American Arts , Tenri Cultural Institute, New York, USA

Collection 1991

Taipei Fine Arts Museum

1994

Kaohsiung Museum of Fine Arts

1995

National Taiwan Museum of Fine Arts

Public Art 1995

National Taiwan Museum of Fine Arts

1998

Public Art of NTU Hospital MRT Station, Taipei, Taiwan

2000

Public Art of Civic Blvd., Taipei, Taiwan

2001

Public Art of Taipei Fine Arts Museum, Taipei Taiwan

2005

Public Art of National University of Kaohsiung, Kaohsiung, Taiwan

2010

Structure of Farglory, Taoyuan, Taiwan

2014

Utek International Constructers & Planners, Taipei, Taiwan

Structure of Farglory, Taipei, Taiwan Syuan Tai Development Group, Taipei, Taiwan 2016

56

“Remarkable Cultivation” Public Art, Tainan, Taiwan

簡歷 1954

出生於高雄市內惟

1975

國立臺灣藝專雕塑科畢業

1982

西班牙聖費南度皇家藝術學院畢業

1983

西班牙國立馬德里大學美術學院碩士

1984-2006

任教於國立臺北藝術大學美術系

2000-2006

任教於國立臺灣藝術大學美術系

2006 迄今

教職退休，專事雕塑創作

精選展歷 1981

西班牙秋季沙龍展

西班牙

1982

西班牙錢幣、浮雕設計展，西班牙國立錢幣鑄造廠

西班牙

1988

第三屆亞洲國際美術展，國立現代美術館

福岡，日本

1992

李光裕雕塑首展，悠閒藝術中心

臺北，臺灣

1995

奧地利格拉茲國際雕塑研營聯展

格拉茲，奧地利

1999

新加坡國際雕塑展，Andres Contemporary Art Pte Lte

新加坡

2009

「空身幻影」李光裕雕塑個展，關渡美術館

臺北，臺灣

2011

「空身幻影」李光裕雕塑回顧展，國立臺灣美術館

臺中，臺灣

2012

「入厝」，采泥藝術

臺北，臺灣

「心靈空間」，采泥藝術

臺北，臺灣

「二葉松」李光裕雕塑個展，采泥藝術

臺北，臺灣

「128 藝國瘋」，采泥藝術

臺北，臺灣

「氣韻－在動靜之間」，采泥藝術

臺北，臺灣

「純粹：思維的能量」，中友百貨

臺中，臺灣

「空山」李光裕新作個展，采泥藝術

臺北，臺灣

2013

2014

2014 – 2015 「多聲交響 -1980 年代台灣雕塑探索」，朱銘美術館

臺北，臺灣

2015

「開放 18. 國際雕塑裝置展」

威尼斯，義大利

「頃刻：當代台灣藝術展」

紐約，美國

重要典藏 1991

臺北市立美術館

1994

高雄市立美術館

1995

國立臺灣美術館

公共藝術 ( 節選 ) 1995

國立臺灣美術館雕塑園區

1998

臺北市捷運局臺大醫院站月臺公共藝術

2000

臺北市市民大道公共藝術

2001

臺北市立美術館－中山區公共藝術

2005

高雄大學公共藝術

2010

遠雄桃園林口未來城 遠雄臺北木柵日光大廈

2014

台北永德言葉景觀藝術 台北玄泰機構景觀藝術

2016

台南富立耘非凡景觀藝術 57

58

59

大地 Earth

銅 Bronze, 108.5x55.5x64cm, 2014

Great Merriment and My Beloved Child also represent LEE Kuang-Yu's response to an increasingly secularized and materialistic world. Humanity becomes warped by political and economic constraints in today's materialistic society. Only by returning to our nature - such as the most fundamental love between mother and child - can we reach the great heights of beauty and emotion that the human heart is capable of. The artist attempts to convey his conviction that 'wisdom and love' are the only true treasures of this world, and represent the most important beauty in our lives.

「忘樂」、「心子」作為李光裕面對俗世動盪與物化的回應， 在物慾橫流的當今社會，人性常因政治與經濟的制約而扭曲 變形。唯有回到本質，一如母與子最根本的親情，才能觸及 直抵人心的高度美感與感動。藝術家試圖傳遞「智慧與愛」 才是人世間的寶物，也是生命的莊嚴與美麗，生成的根本條 件。

62

心子 My Beloved Child

銅 Bronze, 102x104x228cm, 2015

63

64

忘樂 Great Merriment

銅 Bronze, 169x123.5x237cm , 2015

65

66