空境．李光裕 The Realm of void．LEE kuang-yu

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藝術，要﹁以自己為師﹂走入自己内心的本能，看到那不可預測的驚嘆！ 那是自然、自生，而非追求。 藝術使我們在殘酷與溫馨的世間感受到清明愉悦、與燦爛。

In art, one must "learn from the self," perceiving one's inner instinct and the unforeseeable amazement!

It is natural, born from with, rather than something to be pursued.

Art allows us to be lucid, joyful, and radiant in a world that is both cruel and warm. │ 李光裕

LEE Kuang-Yu

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The Realm of Void

The Sculptural World of LEE Kuang-Yu

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目次 Contents 專文

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Essays

從空間、時間、材質和靈性論李光裕雕塑藝術的形與象 Space, Time, Material, and Spirituality: Form and Appearance in LEE Kuang-Yuʼs Sculptural Works 文 / 王哲雄

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Text / Jodeph WANG

風荷的身姿 — 李光裕的人文雕塑 The Humanistic Sculpture of LEE Kuang-Yu 文 / 蕭瓊瑞 Text / HSIAO Chong-Ray

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開放的虛空 — 論李光裕雕塑的形式語言、藝術觀念與當代價值 The Open Void— On the Formal Language, Artistic Concept, and Contemporary Value of LEE Kuang-Yu's Sculpture 文 / 楊心一 Text / YANG Shin-Yi

圖版

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Plates

經典與探索 1990-2010 Classic and Exploration

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自在與昇華 2010-2016 Unrestrained and Sublimation

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手的演變 1996-2010 Evolution of Hand

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走進李光裕的雕塑世界 The Sculptural World of LEE Kuang-Yu

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藝術家簡歷 Biography

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藝術家年表 A Chronological Table

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索引 Index

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從空間、時間、材質和靈性論李光裕雕塑藝術的形與象 文 / 王哲雄 法國巴黎第四大學藝術史與考古學博士 國立台灣師範大學美術系所前主任所長 現任實踐大學工業產品設計研究所教授

一、論形與象

「形」(forme, 出自拉丁文的 forma) 是一種既抽象又實在的狀態或實體。它指涉的範圍包羅萬 象，似乎整個宇宙涵容的一切，都無法撇開與「形」的關係。當然，筆者無意在此談論所有「形」 的問題，因為這將是無底深淵錯綜複雜的探索。單就藝術創作或藝術作品涉及「形」的論述，已 經有如亂麻千頭萬緒。然而，要談李光裕的雕塑藝術，不談「形」的問題是絕對不可能；再說， 前人對於藝術與「形」的談論或撰述，無論如何，多少已有相當清晰的研究脈絡，可供參考和發想。 我們不難從許多名人名言，在談論「形」和藝術的關係時，看出他們的角度與觀點是如此差異不 同，或甚至相左。詩人、作家和藝術批評家波特萊爾 (Charles Baudelaire 1821-1867) 就說過： 「包括由人類創出的一切創造的形，是永垂不朽。因為形是超脫物質而獨立的，再說形不是由分 1

子建構起來的。」 足見波特萊爾對「形」的詮釋，是從浪漫主義精神至上的角度去論斷；相同 的浪漫情懷，在文學家雨果 (Victor Hugo 1802-1885 ) 的看法是：「形，是 ( 內心 ) 深處浮現於 ( 視 2

象 ) 表面」 。1957 年諾貝爾文學獎得主的卡繆 (Albert Camus 1913-1960) 他說：「創造，同 3

時也是對一種形賦於它的命運」 ，明顯地帶著存在主義哲學的色彩，指涉創造與「形」的人格化。 英國詩人格瑞福斯 (Robert Graves 1895-1985) 則說：「所有藝術的形式是為了合理化藝術家 4

心靈中感情衝突的一種企圖」 ，他觸及藝術家與「形」的情感關連。至於首創「想像的博物館」 (Musée imaginaire) 觀念的馬勒侯 (André Malraux 1901-1976 )，他又有他的邏輯看法而說： 5

「什麼是藝術呢 ? 就是當形變成風格」 ，他點出「形」之被定義，亦即「形」變成藝術家的分 身或代言者的時候，風格自然形成，也就是藝術家完成他的創作行為，其結果便是藝術。 法國大文豪巴爾札克 (Honoré de Balzac 1799-1850)，在他生命的最後二十年裡，還扮演一 位出色的新聞觀察家和政治思想家的角色；於「論政治」的系列文章裡曾經寫道：「一切都是

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« Toute forme créée, même par l'homme, est immortelle. Car la forme est indépendante de la matière, et ce ne sont pas les molécules qui constituent la forme. » (Charles Baudelaire, Extrait de Journaux Intimes) « La forme, c'est le fond qui remonte à la surface. » (Victor Hugo) « Créer, c'est aussi donner une forme à son destin. » (Albert Camus, Extrait de Le Mythe de Sisyphe ) « Toute forme d'art est une tentative pour rationaliser un conflit d'émotions dans l'esprit de l'artiste. » (Robert Graves, Extrait de A propos de la poésie anglaise ) « Qu'est-ce que l'art ? Ce par quoi les formes deviennent style. » ( de André Malraux)

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形，而連生活也都是一種形」 。於是，身兼美學家、藝術史學家暨藝術批評家的弗希昂 (Henri Focillon 1881-1943)，就順著巴爾札克的觀點，認為人類的一切活動都有其特殊的形式，藝術活 動自然也不能例外；當論及藝術作品的「形」時，在他膾炙人口的著作：《形的生命》(Vie des

forms , Paris, 1934 初版 ) 一書，首先在其形的世界 (Le monde des formes)，開通明義章的 總論裡，一再強調「生命是形體，而形體就是生活的模式」(La vie est forme, et la forme est

le mode de la vie .) 的觀念之外；他特別提出四項討論形的主軸：I. 空間裡的形 (Les formes dans l'espace )；II. 材質裡的形 (Les formes dans la matière )；III. 靈性中的形 (Les formes dans l'esprit )；IV. 時間中的形 (Les formes dans le temps )。此外，另一部分是討論藝術家心、 手的緊密關係，內心的「形」需要透過「雙手」呈現；反之，靈巧的「雙手」會提升內心塑形的 層次。所以有「手的頌揚」(Éloge de la main) 的篇章。 這位出生在法國迪戎市 (Dijon) 的弗希昂，雖然逝世至今已超過七十年以上，然而他身為理 論 家 和 藝 術 史 學 家 的 思 考 邏 輯 和 研 究 方 法， 其 重 要 性 卻 是 越 來 越 被 關 注。 他 的《 形 式 論 》 (Formalisme)，儘管當時引來某些討論，卻造就不少後來的學者，諸如法國藝術史學家波尼 (Jean Bony 1908-1995) 與美國藝術史學者布朗內 (Robert Branner 1927-1973)，他們對歌 德式建築研究的卓越成就；即使深受德國哲學家卡希瑞爾 (Ernst Cassirer 1874-1945)，特別 是在藝術語言的象徵作用影響下的美國學術界，依然還是有如凱布勒 (George Kubler 19121996)、 塞 穆 爾 (Charles Seymour Jr. 1912-1977)、 漢 米 爾 頓 (George H. Hamilton 18751948) 等諸位名藝術史學者，堅持篤信弗希昂的觀點，並且更從他對藝術品本身，博大精深的歷 史視野去發揚光大。弗希昂在西方藝術領域裡，論形方面的專家中，確實是一位具有獨到見解的 7

學者；他的研究領域，甚至還延伸至東方的宗教藝術 。 筆者發現李光裕對形的概念所抱持的態度和觀點，在許多方面與弗希昂的觀點非常相近；儘管兩 人時空背景完全是南轅北轍，一點關係都沒有，但思想如此交集神會，大概只有一句諺語：「心 有靈犀一點通」可以解釋得了。其實，筆者認識李光裕算是滿早的，雖然我的年齡比他大十五 歲，但是我們是同一年 (1984) 進入國立藝術學院美術系 ( 即現今國立台北藝術大學美術系的前身 ) 任教的老同事，他從西班牙馬德里大學攻讀雕塑創作回國，而我則從法國巴黎第四大學研究西洋 美術史應國科會之邀返抵國門。雖然我是在國立台灣師範大學美術系所專任，而在國立台北藝術 大學是兼任，每星期只去一次，但從蘆洲僑大先修班的舊校址，直到 1991 年遷到關渡現址，筆 者還在那兒教了一年 ( 後因台北關渡通車有點遠而辭去兼職 )；八年當中，我們常有機會在系辦 公室或校車上交談；之後也經常在各種校外的會議、評審場合聊過，在他汐止的工作室和雕塑園 區初創階段，還曾上山參觀，對他的作品和人生觀都不陌生。 此次為了瞭解李光裕新近作品的造型與創作思維發展的關係，筆者再度前往他的工作室與他交換 8

一些意見，並由本人的助理作了簡單的「筆記」 。他的雕塑創作，實質上也就是他生活模式的 具體呈現。他對筆者表示：「我很少下山，我的生活很單純，就是作雕塑和園區的造林造景；我

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Balzac: “Tout est forme, et la vie même est une forme.” 引自 Henri Focillon, Vie des forms, 8e Edition, Quadrige/ PUF, Paris, 1984, p. 2.

Henri Focillon, L'Art bouddhique ( 佛教藝術 ), Paris : H. Laurens, 1921.

2014/8/24，在采泥藝術曾金鈴小姐的陪同下，在汐止李光裕工作室暨雕塑園區的訪談，原本有錄音檔，由於音質欠佳，某些語辭只能憑助理 盧雅惠筆錄和筆者的記憶，語氣會有點出入。

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圖 fig.1

新世界 New World 1985 銅 Bronze 10x17.5cm

將我作雕塑的想法與理念用到自然造園，而把自然造園的空間觀念反映到我的雕塑。一早起來我 會先到園區走走，散步踏青，休息的時候，我坐下來看對面遠處的山；山是一種永恆穩定的存在， 但是輕輕一片飄過的雲煙，就可以改變整個山的形。我在大自然的山林體驗山的變化，體驗事物 9

變化的道理，還有自己內在特質的變化，原來虛空讓精神變得飽滿，藝術家就是在做這樣的事。」

以上李光裕的一段表述不正是弗希昂「生命是形體，而形體就是生活的模式」最貼切的註腳和實 證！ ? 對李光裕而言，雕塑的「形」或「造型」是生活中，個人心靈智慧自然發展的認同感，藉 物質或材料去表達它在空間和時間範疇的張力，它本身是創作也是理念。法國自然主義的文學家 福婁拜赫 (Gustave Flaubert 1821-1880) 說得一點也不錯：「形催生了理念」(« De la forme

naît l'idée . »)；弗希昂衍伸得更徹底更深入，在「手的頌揚」(Éloge de la main ) 篇章裡，是 如此寫著：「不過在靈性與巧手之間的關係，並非如同主、僕之間的尊、從那般單純。靈性出巧 手，巧手造靈性。無實質創造的動作、未能開花結果的姿態，是可以誘發與界定意識的狀態。創 造性的動作與姿態則對內在生命進行一種持續性的影響作用。手使動作與姿態跳脫其被動接受的 情境，手將動作姿態組織起來成為經驗和行動。手讓人學會擁有廣度、重量、密度、數量。在創 造一個全新的宇宙當中，處處留下它的印記。它和它要轉化的材質較量，也與它要變形的形體交

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同上註；並參閱李光裕「空山」個展影片，采泥藝術。

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夜 Night 1980 銅 Bronze 直徑 Diameter 22cm

鋒。手是人的導師，它使人在空間和時間裡擴大繁衍。」

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所以，「靈性」與「巧手」的關係，

對弗希昂和李光裕而言，是一體兩面而非從屬，是相互激勵互相成長。 至於「象」， 即所謂的「影像」或「形象」 (image, 出自拉丁文的 imago, imaginis)，事實上 和「形」是分不開的。它是透過視覺或心理的管道，呈現某些物件之類的東西、生物、人物，或 是心理思維與觀念。「影像」可以是自然形成的，例如影子、倒影 ...；也可以是人為產生的，比 如繪畫、雕塑、照片 ... 等；不論是可見的或不能見的、可觸摸的實體或觀念性的隱喻，「影像」 能保持和母題全然相同的關係，或相反地維繫一種更象徵性的關係。但對「符號學」(sémiologie) 或它已發展成視覺符號區塊的「符號學」而言，「影像」是一種被特殊語言設定的產物。對「影 像」的界定，最古老說法之一是來自古希臘的柏拉圖 ：「我稱為影像的首推影子，然後便是我 11

們在水中所看到的倒影，或者是不透明、光滑的人體外觀輪廓。」 這種對「影像」概念的解釋， 已經明顯呈現無法涵蓋當今對它賦予的意義，但唯一不變的概念就是「形」與「象」永遠一體的， 不管是在具體的，或是不可見也觸摸不到的內心觀念的狀況下；換句話說，「形」必須靠「象」 來顯示或感知，而「象」必須賴「形」來界定或指涉。

Focillon, Vie des forms , 8e Edition, Quadrige/ PUF, Paris, 1984, p. 128: “Mais entre esprit et main les relations ne sont pas aussi simples que celles d’un chef obéi et d’un docile serviteur. L’esprit fait la main, la main fait l’esprit. Le geste qui ne crée pas, le geste sans lendemain provoque et définit l’état de conscience. Le geste qui crée exerce une action continue sur la vie intérieure.

La main arrache le toucher à sa passivité receptive, elle l’organise pour l’expérience et pour l’action. Elle apprend à l’homme à posséder l’étendue, le poids, la densité, le nombre. Créant un univers inédit, elle y laisse partout son empreinte. Elle se mesure avec la matière qu’elle métamorphose, avec la forme qu’elle transfigure. Educatrice de l’homme, elle le multiplie dans l’espace et dans le temps.”

11 Plato: “j'appelle image d'abord les ombres ensuite les reflets qu'on voit dans les eaux, ou à la surface des corps opaques, polis et brillants.”

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二、 空間是雕塑生命呼吸的節奏

雕塑屬於空間藝術的說法，應該是不會有人反對，因為它和建築藝術一樣，本身是具有三次元體 積，而且實質佔有空間的「造型」。但是，李光裕的雕塑空間觀念，即便是他早期具古典風采， 幾近平面的「淺浮雕」(bas-relief)( 圖 1)：〈夜〉(1980)( 圖 2)，他都不會讓空間的界定僅僅維 繫在平面的長、寬、高，這種「亞爾伯提透視法」(Perspective albertienne)

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當中發酵，更

不會拘泥或停滯在具體的「形」與「象」 和周邊環境空間的單純對應關係上打轉。當李光裕開 始探討「虛」、「實」造型概念的建構時，他對「形」與「象」跟空間的關係，就鎖定在作品內 在與外在的互動效應。更進一步說，他對雕塑與空間的關係，不是替作品找到最理想、最合適、 最協調的展示與座落的環境，而是當「形」成為生命體的時候，它會使物質能量不時地改變，連 帶地會促進「形」在轉化的意識，所以，最理想、最合適、最協調的環境空間，也會自動重新洗牌； 反過來說，外在的空間場域，它有明暗、陰晴、季節、時間的變化，會影響作品「形象」的恆常 狀態，進而轉變作品的原始張力並修正其生命流動的向度。舉例來說，李光裕 2013 年所創作的 〈在水一方〉(p.134)，與早期作品「圓雕」(ronde-bosse) 的創作思維，有非常不一樣的概念。 早期的「圓雕」通常是以相對寫實的手法，呈現雕塑家對「形」的掌握應有的功力和想像力，那 怕是在變形的狀態下，他都願意留下一個能和傳統連結的窗口。座落於捷運「台大醫院站」月台 的〈蓮花持〉(1999)( 圖 3)，圍繞著唯一的主題：拿著含苞待放蓮花的佛手，象徵著醫生濟世救 人的菩薩精神；雖然在佛手的無名指及尾指和手掌之間，李光裕的造型巧思留下一處斷層缺口， 渾厚的體積感和構成的邏輯，還是依然可以連結到傳統「圓雕」的概念。 〈在水一方〉明顯地想將傳統「圓雕」制式化的造型概念解構，重新尋找一種自由寬廣的「形」 之建構與新空間觀念的對話。首先我們會發現這件作品本身造型風貌的多元化：有具象而非傳統 「圓雕」概念的人頭、有穿透挖空和實體抽象「虛」、「實」的「擬像」軀體，更有以超現實模 式出現的手掌「影像」。李光裕處理造型的原則，就是不設有既定原則的原則，他有時像作「圓 雕」的典型雕塑家考量體積與量感，將頭部塑造得很飽滿，但頭髮的組織結構和臉部的眉毛、眼 睛及睫毛，卻是以「繪畫性」的線性刻畫技法，混融到「雕塑性」的量體；這種自由，不但解放 了「圓雕」固有的形塑概念，而且營造更豐富的形的生命力。 至於該作品鏤空穿透的「虛」象和「實」形之間的互動，是李光裕新近作品不可等閒視之的 新空間觀念。現代雕塑在實體鏤空的概念，始於烏克蘭血統美國籍的亞奇邊可 (Alexander Archipenko 1887-1964)，他在 1908 年抵達巴黎時，正好是立體主義創立的第二年，造型觀念 傾向幾何形體化；復與「絕對主義」(Suprématisme) 的倡導者，馬勒維奇 (Kazimir Malevich 1879-1935) 及其學生利西茨基 (El Lissitzky 1890-1941) 過從甚密，所以他在 1912 年便創生鏤 空造型的觀念，對雕塑空間的新詮釋，絕不是無的放矢；他說：「在藝術裡，虛空間之形，其 13

重要性絕不亞於實體形的意義」 。接著有蘇俄人法國籍的雕塑家查德金 (Ossip Zadkine 1890-

(Leon Battista Alberti 1404-1472) 於 1435 年左右創立，至今仍然在平面繪 畫用於表現人或物占有周圍空間的立體幻象。 13 Rachel Adler, Archipenko , Rachel Adler Gallery, New York, 1993.

“In art the shape of the empty space should be no less significant than the meaning of the shape of the solid matter.”

12 此透視法是由義大利文藝復興時期，建築師、畫家暨數學家，亞爾伯提

018

圖 fig.3

蓮花持 Lotus Grip 1999 銅 Bronze 194x150x396cm

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1967)，以及英國雕塑家摩爾 (Henry Moore 1898-1986)；他們鏤空穿透的「虛」象和「實」 形，是建立在表裡關係和互相依存的空間共體上。查德金的作品《詩人，向保羅 • 耶律亞赫致 敬》(Le poète ou hommage à Paul Eluard , 1954, Jardin du Luxembourg)，是藝術家在超 現實主義的法國詩人，耶律亞赫逝世後兩年完成的紀念雕塑。首先觀察到藝術家的造型，受立體 主義以面呈現體積的觀念影響，其次是上半身胸部到肚臍之間以鏤空穿透的手法，留出一個跟實 體造型互動較勁的「虛」象，換句話說，這種「虛」象的形體考量是和實體造型的構思是同時進 行的，它們的重要性絕無孰輕孰重的預設立場，沒有主從關係之分也無賓主之別，這種「虛象空 間」(negative space) 當它變成和「具體空間」(positive space) 等同層次的具體意義時，就 像是太極的陰陽，宇宙大觀的晝夜，有時是互相吻合仰賴的協調，有時是相互對峙的競爭力量。 再說，摩爾在 1930 年代開始積極推動「穿透的造型」(piercing forms) 和「開放空間」(open space)，而後來的作品，更是直接就具象造型 (figurative forms) 體中，鏤空穿透出開放空間， 展開「凹凸空間」 (convex and concave spaces) 的大探索。更正確地說，摩爾對實體造型 的完成是以「虛象空間」的考量為優先，或至少同步進行的思維是堅定的。 李光裕的作品，集結、融合、轉化三位西方雕塑家的「虛象空間」和「具體空間」的論述與辯證， 延伸出一個「虛中有實」的「超度空間」(Transcendimensional Space)，這是全然屬於他新 創的空間「語境」。我們可以從〈丘壑〉(2013, 銅 , 39 x 31 x 73 cm) 作品的中間鏤空處，發現 一種無法以「虛象空間」含混帶過的空間思維，明確地劃開李光裕與稍前所提的西方雕塑家，對 虛實空間的論述範疇。筆者之所以將李光裕的「虛中有實」稱為「超度空間」的理由，是因為這 凹空間裡確實保留一個高低起伏，形如綿延的山石風景；在人體的實體中出現如此的凹空間，不 僅僅是離奇的超現實，它是超越宇宙的宇宙，它是天外有天的「另空間」，它是李光裕雕塑生命 的心臟，透過它的視覺影像，我們聽到的是脈動和呼吸的節奏。

三、時間是事件的編年和形的解放

以常理而言，藝術品應該是超越任何時代的一種「永恆」，也就是說，「時間」不是視覺造型藝 術家最重要的考量，那怕自古就有藝術家把春、夏、秋、冬四季的概念，以繪畫的形式或透過雕 塑等的立體造型的模式表現出來，他們的創作活動探討的主要問題還是在「空間」。在藝術史上 唯一強調時間因素的是「未來主義」 (Futurisme) : 例如波契歐尼（Umberto Boccioni 18821916）的《在空間裡持續行走的獨特形體》(Forme Unique de Continuité dans l’Espace , 1913, Bronze, 126.4 x 89 x 40.6 cm, Galleria d’Arte Moderna, Milan.)。「未來主義」的 誕生是有其歷史背景，因為「文藝復興」燦爛的光環，讓義大利藝術家過度陶醉在古希臘文化的 優雅與理想美，而長久養成一種不關心時代的變化，甚至執迷不悟的「嗜古主義」(passéisme)，

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所以義大利詩人馬利內提 (Filippo Tommaso Marinetti 1876-1944) 於 1909 年 2 月 20 日的 « 費 迦羅報 »(Le Figaro )，發表「未來主義的宣言」(Manifeste du Futurisme )；「宣言」的第四條 款是如此寫著 ：「我們肯定地認為這個變化萬千的光燦世界，已廣闊地孕育出一種新形式的美： 那就是『速度』的美。一部配置著有如蛇狀蜿蜒粗大排氣管的車箱而蓄勢待發的跑車…一部咆哮、 急馳如子彈飛奔的車子，比薩摩塔斯勝利女神雕像還要美。」

14

因此「未來主義」的形成一方面

是二十世紀工業文明激發出來的動力美學的「事件」(événement)，同時也是義大利長久以來， 歷史累積出來的「歷史事件」(événement historique)。 弗希昂認為：「談形的生命，必須提到承繼的觀念。」他接著說：「不過承繼的觀念預設了時間 的不同概念。時間有時可以詮釋為一種度量的標準和運動，有時可以詮釋為一系列不可動與不停 移動的事件。」

15

歷史科學會以一種明確的結構，化解這種矛盾。因為歷史是要研究過去所發生

的事件，對過去的調查探討，如果沒有將「時間」的架構當成標的，那麼研究歷史將成為毫無意 義的事，也無法達成任務。人所皆知，研究歷史的三大要素是「人」、「地」、「時」，所以「時 間」的概念對歷史學家而言，是一種重要的研究方法。按年代排序的「編年」(chronologie) 是 其治理史學的基本架構，然後在此架構下，探討某族群，在某地理位置，每一年的每個關鍵「時 刻」(moment) 的特殊「事件」(événement)；當每一個不同「世代」(génération) 的「事件」 累積到一百年的階段，史學家們喜歡以「世紀」(siècle) 的時間論斷，觀察其發展與演變，並且 歸結特徵賦予每一個「世紀」一種特殊的「形」貌。 乍看之下，藝術史的發展似乎也是循著歷史發展的軌跡，實際上藝術創作的活動不必然是在締造 歷史「事件」，藝術品的產生即便是多麼有創意，多麼具革命性，可能那只是藝術家個人，單純 內在省思的結果，不一定是反應與外在環境相同的「時態」( 時代性 )，甚至經常還以逆向思考 的形式來詮釋外在的「時代性」，那是因為藝術家不認為藝術創作的思維行徑，必須受歷史文明 「進步論」(Progressivism) 的綁架。所謂「進步論」就是以時間的前後來定調社會文化的先進 和落後；也就是說時代越新進，意味著社會體制更完美文化更優質。這種以時間軸論定社會文化 進步與否的「進化論」(Evolutionism)，事實上隱藏著種族優越感的成分，當然經不起某些專門 研究種族與文化的學者，如雷威 - 史特豪斯 (Claude Lévi-Strauss 1908-2009) 的批判，這位擁 有法國院士銜的資深人類學家 (anthropologue)、民族語言學家 (ethnologue) 暨哲學家的大 學者，曾在 1971 年應邀於巴黎聯合國教科文組織 (UNESCO) 演講，講題是「種族與文化」(Race

et Culture )，除了贏得滿堂彩和熱烈的迴響外，文稿也完整地被刊登於聯合國教科文組織的《社 會科學國際期刊》(la Revue internationale des sciences sociales , UNESCO, 1971/12)；這 篇文章可以算是，他在 1952 年就已經刊載於同一刊物的《種族與歷史》(Race et Histoire ) 之 增訂加強版。雷威 - 史特豪斯認同並尊重不同種族與不同歷史的差異，否定「進步論」或「進化論」 的優劣比較；堅決主張以文化的多元性，來救援某些面臨邊緣化甚至絕跡的文化。 沒錯，時間有先後，不同種族締造不同的歷史、累積不同的文化，只有差異，沒有尊卑也無先進

14 《Le

Figaro 》, le 20 février: “4. Nous déclarons que la splendeur du monde s’est enrichie d’une beauté nouvelle : la beauté de la vitesse. Une automobile de course avec son coffre orné de gros tuyaux tells des serpents à l’haleine explosive…une automobile rugissante, qui a l’air de courir sur de la mitraille, est plus belle que la Victoire de Samothrace.”

15 Henri Focillon, op. cit. p. 83: “Parler de la vie des formes, c’est évoquer nécessairement l’idée de succession.” ; “Mais l’idée de succession suppose des conceptions divers du temps. Il peut être interprété tour à tour comme une norme de mesure et comme un movement, comme une série d’immobilités et comme une movement mobilité sans arrêt. ”

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圖 fig.4

口 Mouth 1995 銅 Bronze 14.5x58.5x68cm

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與落後之別。承載這些宏觀訊息的作品，別無他人，而是出自雕塑家李光裕的創作；就從〈口〉 (1995)( 圖 4) 這件作品說起：從象形文字的概念，到西方聖經創世紀亞當夏娃的典故、東方意象 的浮雲，涵蓋著自有人類以來，淵遠流長而多元歷史的不同文化，李光裕以此承載的時光記憶， 回應當下的後現代思想；「時間」對他來說，是事件的編年，就是因為累積不同時代的事件，「形」 是綜合的，是開放的，是自由的，是解放的。新近的作品像〈忘醉〉(2013)(p.138)，對於「形」 的解放尺度更自由更灑脫：一個有如隋唐時代造型的人物，身體與其說是由一張大型荷葉包裹著， 不如說是由一張荷葉所形成來得適切，但人體應有的自然動作與動態，在兼顧荷葉自然生長狀態 的前提下，是這般栩栩如生地同時扮演兩個互相依存的角色，換句話說它是人體也是荷葉。這種 非同質性的一體兩面，召喚出一種如同「時代錯置主義者」 (anachronisme) 的超現實或非邏 輯情境；與立體主義同一質性的各個組成面，同時並置之「同時性」(simultanéité) 邏輯，決然 劃清界限。 「時間」與「空間」二次元本來就必須連在一起，李光裕一體兩面的造型概念，不但是時間快速 轉變的「引體」和「象徵」 ，同時也是開拓新時空的「導體」與「載體」。〈雲山行旅〉(2013)( 圖 5)， 基本造型是一只手掌，理論上掌心與掌背是同質的一體兩面，但這裡的手掌不是一般人體的手 掌，因為掌心與掌背的肌理觸感與形象蛻變，已讓彼此產生質變，形成所謂異質的一體兩面關係； 從帶著抽象表面觸感的掌心穿透到掌背的「虛象空間」，除了延伸出另外一個新的空間之外，那 「虛象空間」中出現一朵象徵性的雲狀物，引領著觀賞者的想像，進入掌背呼之欲出的擬人化形 象、層層疊嶂的山巒，一直往手指上端延展。於是這只手成為東方哲學、文化思維、時空轉換的 「載體」；加上「載體」上的形與象是遊走於抽象、具象之間的所謂 「不確定性」，以及時空的「解 構再建構」，讓李光裕的創作品釋出「後現代」的精神。 〈飛來〉(2013)(p.146) 此作，固然由於投懷送抱的動態釋放出的速度感，讓我們聯想到稍前所 提未來主義藝術家，波契歐尼的《在空間裡持續行走的獨特形體》，李光裕作品所承載的「時空 概念」，還是在於他一體兩面的表現手法。這是男女激情親熱擁抱的主題，身體除了若干局部， 大致是以「圓雕」的思維來建構的；而四肢有部分是帶點「面」的扭轉曲折，這種有意跳脫解剖 學和人體生理合理性規範的轉折，一方面是會強化作品張力的加碼，另一方面是營造一種隨時移 位，持續運動和不停轉換姿態的意象與能量。當然，那以「平面」造型原則所思考的男女連體頭 部，才是真正「時間」的「載體」：從一面以刻劃手法表現眼睛的男人臉頰，對應到另一面以塑 造技法呈現五官的女人臉龐，其所代表的意義不是表現風格的不同，而是象徵「時間」與「空間」 的轉換，以及「形體」從邏輯合理性約束的超脫。

四、材質是雕塑的血肉和形體的活化

所謂「材質」(la matière)，就是材料物質。「形」的生命無所不在，然而一旦「形」未能藉助 材料物質具體現身的話，「形」就只是停置於內心靈性的想法而已，正如弗希昂所言：「只要形 未能藉材料物質活現，它就只是一種心裡情境的看法、一種對範圍減縮到幾何形體清楚易懂的思

023

考而已。」

16

藝術創作，特別是立體造形藝術，跟材料物質的關係更為緊密；沒有材料物質，就

不可能有藝術品，沒有材料物質，更無法得知藝術本身將會以何種適切的形式呈現。所以自古以 來，雖有強調精神凌駕物質之上的「唯心論」，也有強調精神再高依舊還是要仰賴物質的所謂「唯 物論」；平心而論，精神—物質 (esprit- matière) 或物質—造形 (matière-forme ) 是某種程度 的對立，也是某種程度的互為依存，但材料物質變成藝術家的藝術品，絕不是二元對立或相依如 此單純的邏輯可以解釋，這過程必須經過藝術家對材料物質選擇的思維判斷，揣測材料物質的色 彩、密度、肌理和紋路等材料的性質，是否和藝術家期待的形式語言同調；再說，材質本身也有 它原本天然的造形，它也一樣會對藝術家的造形思維或形式造成一定程度的影響。另外創作者的 專業技法、處理與應用材質的能力…都告訴我們，從材料物質轉變成藝術品是極端複雜和微妙的 過程。而且，經過這個過程之後，材質已經不再是原來的屬性。做成雕像的木頭不再是樹林中的 木頭；雕刻成人物的大理石不再是建造產業的大理石；鎔鑄成雕塑的金、銀、銅或其他金屬，已 經成為未知的金屬而不再是原本礦層的金屬；從窯燒出來的磚頭或陶瓷已經和原本的黏土沒有關 連。因此，材質雖然來自天然，但經過藝術家的手和靈性的冶煉過程後，已經蛻化為藝術家心靈 所期待的「形」與「象」，它不再是代表自然物。 當我們看到李光裕 2013 到 2014 年的作品，在「形」與「象」的創新，已到隨心所欲而又無往 不利之境的時候，已經可以斷言他對材質的瞭解、掌控、選擇與開發的用心。讓我們分兩個階 段來討論他對材質問題的探索，首先談他「翻鑄」前「塑模」的階段：他深深體認到泥塑絕不 是現代雕塑唯一造形「塑模」的方法，泥塑甚至無法滿足和解決他內心所期待的形體的實現， 要有大立就得先要有大破，任何「現成物」(Ready-made) 或「協助現成物」(Ready-made aidé)，只要它能協助李光裕完成他新的造形語境，他都勇於嘗試，勇於公開分享。很多藝術家 都不太願意透露創作的過程，李光裕務實而大方，向筆者解釋他「塑模」的方法和如何使用材料 物質；他說有時因造形的需要，會以塑膠板彎折成各種弧度波折的形狀，然後在其上敷塗 0.2 至 0.3 公分的燒石膏，凝固後將塑膠板抽離拿開，並且在石膏上做好各種表面肌理的處理。

17

正是

這一段過程，李光裕找到他個人獨特的「自由造形」，當然這種「自由造形」是依據他整體「塑模」 的需要來決定它的形狀，來做增或減的組構與拼接，所以他在「塑模」的的過程中不斷的增或減 ( 他寧可以減代替增 )，不斷的使用可以讓他借力的各種材質，是無法預先知道最後完成的造形， 當他精準的審美直覺讓他的手停下來，認為他內心期待的「形」已然成「象」，「塑模」的階段 完成，最後完成的造形才誕生。整個過程充滿「隨機性」，後現代的「偶發性」思維，無時無刻 不在扮演創新的要角。另外，特別要強調的是表面肌理的處理部分，也是李光裕心裡的「形」， 透過材質的「載體」：刮、擦、斷、裂、凹、凸、坑、洞…形塑得極其自然，好像堆積了多少萬 年的時光與歷史記憶的縮影，這種材質的處理方式，讓筆者不得不聯想到三年前才過世的西班牙 當代藝術巨匠：塔畢耶斯 (Antoni Tàpies 1923-2012) 的表面肌理的處理手法，兩者有著異曲同 功之妙。

16 Henri

Focillon, op. cit. p. 50: “La forme n’est qu’une vue de l’esprit, une speculation sur l’étendue réduite à l’intelligibilité géométrique, tant qu’elle ne vit pas dans la matière. ” 17 2015/02/21 與李光裕對話。

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其次，再觀察李光裕「翻鑄」青銅後的材質處理：完成「塑模」之後交由鑄造廠家，以脫臘法「翻 鑄」成青銅作品，清洗乾淨等待表面染色及銅綠處理。銅綠 (Verdigris)，主要成分是碱式碳酸銅， 是銅器的表面經二氧化碳或醋酸作用生成的綠色銹衣，含有銅、氧、氫和碳等元素，又稱銅銹； 銅經天然氧化產生銅綠的時間相當長，至少要 20-50 年，但一旦產生銅綠，對銅來說反而形成一 層密度極高的保護膜，也讓銅器物或雕像增添幾許時間留下的歷史與人文的氣息。銅綠不會被水 溶解，卻可以被酸溶解，所以李光裕使用酸液來處理銅綠的分佈與色澤的變化。這一道手續非常 重要，它可以變化材質的視覺效果，它可以變化材質的質感，它可以變化材質原先肌理的觸感， 強化時間、歷史記憶與人文的縮影；換句話說，經過這道處理之後，材質已經不再是原來的自然 物質，青銅已經成為有生命的非自然物。為了材質之間的豐富對話，藝術家還會以不同金屬「翻 鑄」，例如 2013 年的〈斜陽〉(p.110)，主體人物以圓雕和分解面拼組的概念同時進行人體與衣 物的建構，與人體所躺那表面肌理與觸感變化多元的平台，皆以銅金屬「翻鑄」；另外平滑曲折， 有如一面魔鏡，反射映照著變形的局部人體，營造形中有形的幻象的塊體，是不銹鋼材質；而銅 的材質處理成暗沈的深褐色與不銹鋼閃亮輕快的並置，不僅是視覺的對比，更是一種「形」的對 應和互動。對李光裕而言，材質永遠是他雕塑的血肉，也是他活化形體的法門。

五、靈性出妙手，妙手造靈性

充滿西方神話和東方鄉土風情的牧歌主題：〈鳴情〉(2013)(p.122)，令人陶醉也令人深思。論 造形太美了！坐在牛背上的牧童，一隻腳垂地另一隻腳盤纏在牛背上，動態線條顯得那麼輕盈那 麼流動；他的笛聲是那般的扣人心弦，如此的熟悉，卻帶著一絲絲淒涼的傷感。牛的造形更引人 遐想，相較於牧童，牠成為巨大的量塊，在某個角度看，牠歪斜著頭，露出彎曲的牛角，與概念 化的身體和四肢糾結在一起，似乎靜靜地聆聽牠主人美妙的旋律，召喚出東方版的音樂之神：奧 菲 (Orpheus) 在帕那修斯山 (Mount Parnassus) 的天堂，對著環繞在周圍的鳴禽野獸彈琴的祥 和世界，叫人如何不為之神往。令人深思的是李光裕如何透過他清新獨特的雕塑催情？催出觀者 與他共鳴的「靈性」。 「相由心生」的諺語，不管是出自唐朝名宰相裴度 ( 字中立 ) 少年遇到禪師的故事，或是出自佛 語，都是談內在修為和外在形貌的關係。李光裕這些年來對佛學的接觸，讓他體悟到相當多的人 生哲理，他曾經向筆者解釋：「我接觸佛學讀佛經，不像研究的專家深入剖析與解讀，而是從中 體悟到以往所不知或知道不清晰的哲理。」

18

歷年來，我們看到有關佛陀的手勢、慧語、塑像，

以各種不同的造形語境，出現在李光裕的作品裡，足見藝術家對精神—物質到物質—造形，進而 造形—精神有了全盤循環性的體悟。「相由心生」固然是人性修為的用語，和造形—精神的奧妙 關係卻是一致；內在的涵養孕育達到通曉成熟的時機，形體自然藉最適切的材質，讓手隨心中的

18 同註

8

025

圖 fig.5

雲山行旅 Wandering in the Misty Mountains 2013 銅 Bronze 43x19x125cm

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期待巧妙地呈現出來；而當內在的涵養孕育達到洗鍊順勢的階段，執行造形實現的雙手就成了妙 手；反過來說，手的動作不斷地和呈現內心造形的選用材質接觸、熟悉、瞭解所累積的知識經驗， 回向滋潤內在靈性的提升淨化。「靈性出妙手，妙手造靈性」的論述，在本文開始談「形」的時 候，筆者已經說明這幾乎就是弗希昂《形的生命》的結論，所以筆者無意在此贅述，僅就李光裕 近作的剖析，瞭解他新的造形，所負載與傳達的靈性之人因關係。 2014 年的〈思惟〉(p.156)，李光裕全然打破圓雕的傳統量體觀念，他以解構的「片」、「面」， 構築藝術家前所未有的「虛象空間」和「具體空間」，而創造一個「體」的新意象：是具象也是 抽象；是現實也是超現實；這種造形語境其實從 2008 與 2009 之間就已經開始萌芽，2013 孕育 成形，2014 全然脫胎換骨進入李光裕雕塑經歷的新紀元。當我們沿著作品周圍環視，它所顯現 每一角度的造形都是完整的獨立個體，不必然要成為同一人體的各個組成部分；但合起來卻又是 一個完整統一的〈思惟〉造形。〈思惟〉的造形，與羅丹 (Auguste Rodin 1840-1917) 的「沈 思者」載負著完全不一樣的歷史與文化意涵，前者的造形想必從東方靜坐冥想的「單盤」盤起單 腳而坐發想

19

，這種不拘形式的用心，隨遇而安的靈性鬆綁，釋放思維的上法。李光裕的造形語

境，刷新「空間」、「時間」、「材質」的既有概念。 〈伏心〉(2014) (p.148) 以逸興灑脫的造形語境詮釋嚴肅的隱喻。這隱喻來自東方的哲學：「以 柔克剛」；李光裕同樣以「面」代「體」的造形手法，呈現一位兩腳朝天身體倒立，雙手壓住虎 背的英雄。虎、獅都是萬獸之王，力大兇猛豈是常人輕易可以讓其就範？攻身不如攻心，降服老 虎的野性是用仁心而非暴力。不管是人與老虎，李光裕採取揶揄幽默的造形，隱喻「降虎不如伏 心」或「以柔克剛」的靈性人因。另一方面，〈伏心〉同時可影射佛教的伏心菩提，修行重在「斷 諸煩惱，降伏其心」的語境。重要的是〈伏心〉的造形可以表現得如此自在得體、獨樹一格，是 來自長期心、手互通的冶煉，換言之，也就是所謂「靈性出妙手，妙手造靈性」的優質循環所帶 來的結果。 他如〈空行〉(2014)(p.152) 一作，是根據藏傳佛教秘宗的「空行母」之靈感而來。「空行母」 梵音譯為荼吉尼 (DAKINI)，意即空中行走的人，她是有超級神力，能在空中行走的女性神祇， 代表智慧與慈悲，也代表覺悟的女性能量。李光裕從宗教靈性的明心體悟，自然形成一種「妙智 慧」；而「妙智慧」讓他的雙手變得精準靈巧，塑造出心中勾畫成形的「空行母」：一腳的腳尖 輕輕踏著代表陽性的大神龜，象徵陰陽協調；另一隻腳作懸空單盤腿，雙手攤開迎風而行的美妙 姿態，既有原神又有新意，極富律動感。

19 打坐時盤起雙腿的，稱為雙槃，即踟趺坐；盤單腿的則為單盤。

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六、結論

「形」是一種生命，「形」是一種生活的模式，無所不在無所不存，存在於我們的內心，存在於 外在的物表，活在我們現代的空間，活在歷史記憶的空間，活在未來的想像空間。李光裕以「殘 缺」形塑「圓滿」的造形觀念，刷新雕塑史上對雕與塑的刻板定義，以解構主義的思維，片段的 面或不可名狀與不確定性的斷層，建構後現代語境的圓雕概念和形體。張力、律動和超現實幻象 是他所關心，於是「虛象空間」和「具體空間」的較勁與對話，開創超越宇宙的宇宙，那是天外 有天的「另空間」(「超度空間」)，它是李光裕雕塑生命的心臟，透過它我們聽到的是脈動和呼 吸的節奏。 在「時間」概念上，李光裕不認同藝術「進步論」或「進化論」的片面主張，而以「時代錯置主 義者」集結異質的歷史元素、不同種與不同時代的文化、神話或宗教性信仰、傳說、寓言，同時 並置呈現，營造「類超現實主義」的意象和「一體兩面」造形的「時間」轉換。 「材質」是雕塑的血液，也是雕塑的肉身。李光裕大破大立嘗試各種不同材質的並置對比，尋求 不同的塑造方法以改變材質的表面肌理、觸感，讓李光裕心裡的「形」，透過材質的「載體」： 刮、擦、斷、裂、凹、凸、坑、洞…形塑超級自然，好比歷經多少萬年的時光與歷史刻痕，巧手 媲美西班牙當代巨匠塔畢耶斯。 總之，李光裕視「技巧」和「理念」為一體兩面之事，內心不斷的修為增智培養靈性，眼高心淨 技巧亦隨之精鍊；反之，不斷的冶煉代替內裡心智執行創意的雙手，累積技巧的經驗，也是提升 創作理念的素質。所以從這個角度縱覽權衡李光裕的近作，筆者獻上弗希昂的名言：「靈性出妙 手，妙手造靈性」，以對他新近努力的成就表示讚揚與肯定。

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Space, Time, Material, and Spirituality: Form and Appearance in LEE Kuang-Yuʼs Sculptural Works

By Joseph WANG PhD, Histoire de l'art et archéologie, Université Paris-Sorbonne (Paris IV) Former Dean of the Department of Fine Arts, National Taiwan Normal University Professor, Department of Industrial Design, Shih Chien University

I. On Form and Appearance

“Form”, from Latin forma, denotes an entity or state of affairs that is both abstract and concrete. So all-encompassing is it in its scope that not even the whole content of the universe can eschew some relationship with it. I will not, of course, enter into the problems of “form” tout court, because to do so would be an exploration of a bottomless abyss of complexities. Even to treat of “form” in artistic creations or works of art is already to enter a thicket of complications. However, when regarding the sculptural works of Lee Kuang-Yu, not to talk of the problems of “form” is an absolute impossibility. In any event, there is a well-developed body of past literature discussing the subject of art and form, that has laid clear paths for research and speculation.

Well-known commentators have discussed the relation between form and art from widely different perspectives and viewpoints, even contradictory ones. The poet, writer, and literary critic Charles Baudelaire (1821-1867) wrote, “All created form, even that which is created by man, is immortal. For form is 1

independent of matter: molecules do not constitute form.” It is clear here that Baudelaire’s interpretation of form derives from his perspective as an exponent of Romanticism. In a similar vein, the writer Victor 2

Hugo (1802-1885) wrote, “Form is the essence brought to the surface.” In 1957, the Nobel Prize recipient 3

Albert Camus (1913-1960) wrote, “To create is likewise to give a form to one's fate,” bringing a markedly existentialist emphasis to the discussion, personifying creation and form. The English poet Robert Graves (1895-1985) wrote, “Art of every sort… is an attempt to rationalize some emotional conflict in the artist's 4

mind,” touching here on the emotional link between the artist and form. André Malraux (1901-1976), brought his logical perspective to bear on his unprecedented “Musée imaginaire” when he wrote, “What is 5

art? It is that whereby form is transmuted into style.” He pointed out a definition of form, namely that when form becomes the proxy or representative of the artist, a style naturally emerges, and the latter thus fulfils their creative function, and the result is art.

The great French man of letters Honoré de Balzac (1799-1850), in the final twenty years of his life, played the role of eminent observer of the events of the day, as well as political ideologist. In one of his political 6

writings he wrote, “Everything is form, and life itself is a form”. By way of Balzac’s perspective, the art

5

“Toute forme créée, même par l'homme, est immortelle. Car la forme est indépendante de la matière, et ce ne sont pas les molécules qui constituent la forme.”

(Charles Baudelaire, Journaux Intimes ) “La forme, c'est le fond qui remonte à la surface.” (Victor Hugo) “Créer, c'est aussi donner une forme à son destin.” (Albert Camus, from Le Mythe de Sisyphe ) Robert Graves, On English Poetry , XIV “The Daffodils”.

“Qu'est-ce que l'art ? Ce par quoi les formes deviennent style.” (André Malraux)

6

Balzac: “Tout est forme, et la vie même est une forme,” cited in Henri Focillon, Vie des forms , 8th ed., Quadrige/ PUF, Paris, 1984, p. 2.

1 2 3 4

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theorist, historian, and critic Henri Focillon (1881-1943) held that all human activities had their peculiar forms, and aesthetic activity was naturally no exception. He discussed form in works of art in his book Vie des

formes (Paris, 1934), intended for a popular audience. His general thesis was introduced here in Le monde des formes [“The world of forms”], where he reiterated that “life is form, and form is the mode of life.” His argument revolved on four axes: 1. Forms in space (Les formes dans l'espace ); 2. Material forms (Les formes

dans la matière ); 3. Mental forms (Les formes dans l'esprit ) and 4. Temporal forms (Les formes dans le temps ).

In a chapter entitled Éloge de la main (In praise of the hand), he also wrote about the intimate connection between the artist’s mind and the paired hands; by contrast, dexterity of the two hands also enhances the mind’s form-shaping capacity.

Focillon was born in Dijon, France, and although he died when he was already past seventy, as theorist and art historian his style of reasoning and his research methods won him increasing recognition. His brand of formalism, even if little discussed at the time, nevertheless attracted many followers later on, such as the French art historian Jean Brony (1908-1995) and the American art historian Robert Branner (1927-1973), both of whom contributed outstanding work in the study of German architecture. However steeped in the German philosophy of Ernst Cassirer (1874-1945), which was a feature of American academia at the time with its focus on symbols in artistic idioms, there continued to be scholars who were devoted to Focillon’s work, such as George Kubler (1912-1996), Charles Seymour, Jr. (1912-1977), and George H. Hamilton (18751948). The continued his focus on the work of art itself, widening historical horizons in a far-reaching and profound way. Focillon was indeed an original scholar, and with his specialized treatment of form he occupies a special place in Western art, and the research field he opened up has extended to Asian 7

religious art as well.

This writer discovered that the attitudes and views held by Lee Kuang-Yu toward the concept of “form” closely approximated those of Focillon’s in many respects. The two may have been poles apart in terms of their times and their backgrounds, with not a single point of contact, but in their ways of thinking, there was a meeting of minds, a kind of “telepathic communion” would be one way to explain it. I had, in fact, been acquainted with Lee Kuang-Yu quite early on. Although I was fifteen years older than he, we had both begun teaching in the Fine Arts department of National University of the Arts in the same year, in 1984 (this was the predecessor of the present-day National Taipei University of the Arts, Department of Fine Arts). He had returned home to Taiwan after studying sculpture at the Complutense University of Madrid, and I had returned, at the request of the National Science Council, from the Sorbonne in Paris where I was researching Western art history. Although I had a full-time faculty position in the Fine Arts department of National Taiwan Normal University, I taught part-time at the National Taipei University of the Arts, teaching there once a week. But this was at its former location at the Luzhou National University Preparatory School, until it was moved to its new location in 1991 in Guandu (I later resigned that position due to the long commute between Taipei and Guandu). In the eight years that I was there, I often had occasion to have discussions with him in the faculty rooms or on the bus, and later as well, speaking with him at various extracurricular meetings or reviews. I also visited his studio in Xizhi and his sculpture park when it was only just beginning, so I was no stranger to his works or to his views on life.

For the present article, I again went to Lee Kuang-Yu’s studio to exchange views with him, in order to gain an understanding of his new works, and of the relationship between their forms and the developments in his 8

creative thinking. With his assistance I produced a simple “Notebook” out of this. His sculptural production is essentially the manifestation of a concrete mode of living. In his own words, he says, “I seldom go down

7 8

Henri Focillon, L'Art bouddhique (Buddhist art), Paris: H. Laurens, 1921.

On August 24, 2014, accompanied by the ceramic artist Zeng Jinling, I went to interview Lee Kuang-yu’s at his studio and sculpture garden. The original interview was recorded, but due to the less-than-optimal recording quality, I had to rely on the notes of my assistant Lu Yahui to remember, so there may be slight discrepancies.

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from here. My life is very simple. It just consists of making sculpture, and landscaping and planting trees in the sculpture garden. I apply my thought process and reasoning about sculpture to the creation of the garden, and the concepts of space in the garden reflect back into my sculptural work. The first thing I do when I get up in the morning is taking a walk in the garden, through the greenery, and while I am relaxing I can see the distant mountain opposite. The mountain is an existence that is eternally stable, and yet is as fleeting as a cloud, and in that way the mountain’s entire form can transform. When I am out in nature, I experience the mountain’s changes, and experience the reason behind change itself. And I have a special sense of the change within myself. The original śūnyatā or void changes the mind into a plenitude, and this 9

is what the artist is engaged in.”

As an interpretation and instantiation of Focillon’s “life is form, and form is the mode of life,” nothing could be closer than Lee Kuang-Yu remarks here! For Lee Kuang-Yu, “form” or “creating form” is an identification with the natural development of the individual mind and intelligence that takes place in life itself, and, by means of matter or materials, it is expressed within the tension between spatiotemporal categories.

In itself it is both creative activity and philosophy. Gustave Flaubert (1821-1880), the French exponent of Naturalism, was correct in his statement that “Form gives birth to the idea” (« De la forme naît l'idée . ») and Focillon pursued this vein more deeply in the chapter “Éloge de la main ,” where he writes: “But the relations between the spirit and the hand are not a simple as that between a master and a docile servant. The spirit makes the hand, and the hand makes the mind. The non-creative gesture, the gesture without issue provokes and defines the state of consciousness. The creative gesture exerts a continuous activity on the inner life. The hand arrogates the sense of touch to its receptive passivity, and organizes it for the purpose of experience and action. It teaches man to possess extensibility, weight, density, number. Creating an unprecedented universe, it leaves its mark everywhere. It measures itself with respect to the matter that it 10

transforms, with the form that it transfigures. As the teacher of man, it multiplies him in space and time.”

Thus, for both Focillon and for Lee Kuang-Yu, “spirit” and “hand” are coterminous and not subordinate the one to the other. Each fosters the other, each grows the other.

With regard to the “image”, and what is called the “phenomenal image” or “formal image” (“image” coming from the Latin imago, imaginis), it is actually inseparable from “image”. It manifests some type of material thing, animal, person, or mental thought or concept through the conduit of visual perception or mental activity. “Phenomenal image” may arise naturally, as with a shadow or a reflection. It can also be manmade, as with a painting, sculpture, or photograph. Whether said entity is visible or invisible, tangible reality or conceptual metaphor, the “phenomenal image” can preserve a relationship of full identity to its originating motif, or contrariwise, maintain a more symbolic relationship with it. However, “phenomenal image” is a specialized term in semiology, or the semiology of blocks of visual symbols that it has developed into. Plato has given one of the most ancient definitions of this “image”: “By ‘image’ I mean first the 11

shadows, then the reflections seen in water or on the surface of opaque bodies, polished and shining.”

From this explanation of the concept of “phenomenal image” it already clearly emerges that the meaning that has been assigned it is insufficient. However, the sole unchanging concept here is that“form”and“image” are always integral; regardless of whether concrete or invisible, it does not achieve the status of a mental concept. In other words, “form” necessarily depends upon “image” to manifest itself or be perceived, and “image” relies on “form” to become defined or registered.

See the above note, and cf. Lee Kuang-Yu: Mountain．Emptiness, video of solo show , Chini Gallery.

Focillon, Vie des forms (Paris: Quadrige/PUF, 1984, 8th ed.), p. 128: “Mais entre esprit et main les relations ne sont pas aussi simples que celles d’un chef obéi et d’un docile serviteur. L’esprit fait la main, la main fait l’esprit. Le geste qui ne crée pas, le geste sans lendemain provoque et définit l’état de conscience.

Le geste qui crée exerce une action continue sur la vie intérieure. La main arrache le toucher à sa passivité réceptive, elle l’organise pour l’expérience et pour l’action. Elle apprend à l’homme à posséder l’étendue, le poids, la densité, le nombre. Créant un univers inédit, elle y laisse partout son empreinte. Elle se mesure avec la matière qu’elle métamorphose, avec la forme qu’elle transfigure. Educatrice de l’homme, elle le multiplie dans l’espace et dans le temps.”

11 Plato: “j'appelle image d'abord les ombres ensuite les reflets qu'on voit dans les eaux, ou à la surface des corps opaques, polis et brillants.”

9

10 Henri

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II. Space is the rhythm of sculptureʼs life-breath

That sculpture is an art of spatiality should meet with no objection. Like architecture, it possesses threedimensional volume, and substantially occupies a “shape” in material space. However, in Lee Kuang-Yu’s conception of sculptural space, he does not admit a definition of space as merely composed of the planes of length, breadth, and height, and approaches the planar quality of bas-relief(fig.1), as in his Night (1980) 12

(fig.2), that ferments in an Albertian perspective.

Nor does he allow himself to be constrained or bogged

down by whether the specific “form” and “image” will revolve around each other in a purely correspondent relationship with the surrounding space. When Lee Kuang-Yu began to investigate the structure of formal concepts of emptiness and concreteness, he looked at the relationship of “form” and “image” to space, and focused attention on the interplay between internal and external aspects of the work. Furthermore, when Lee approaches the relation between sculpture and spatiality, it is not a question to him of finding the most ideal, most appropriate, most harmonious place to locate and display the work, but rather of taking the work’s “form” as a living body, which will, from time to time, change in its material capabilities, and in doing so valorize the consciousness of change of this “form”. Thus the most ideal, most appropriate, most harmonious space will also automatically reshuffle these elements. On the other hand, external spatial fields are subject to changes in light and shade, the seasons, and time, which influence the durable state of the work’s “formal image”, thereby transforming the original tensions in the work, altering the scale of its life flow. For example, Lee Kuang-Yu’s 2013 work Across the Water (2013)(p.134) use of the ronde-bosse enameling of his early works. His early ronde-bosse works were realist in their tenor, and revealed the skill and imagination of the sculptor’s in his grasp of “form”. Even though it showed deformity, he wanted to leave open a door open to tradition. Located on the platform of the National Taiwan University Hospital MRT station, Lotus Grip (1999)(fig.3), it revolves around one theme: the Buddha’s hand grasping a budding lotus flower, symbolizing the Bodhisattva spirit within the medical profession of saving humanity. Lee KuangYu’s inspired design leaves a gap in the Buddha’s third finger, imparting a deep feeling of volume and compositional logic, and preserving a connection with the traditional round Yuandiao sculpture.

The work Across the Water obviously makes traditional Yuandiao carvings into a formal structural concept. It is a renewed search for a broad freedom to set structural “form” in a dialogue with new concepts of space.

We are initially encountered with the works stylistic diversity: figurative and non-traditional Yuandiao round carvings of human heads, hollowed out and drilled, and simulacra of bodies standing in for the abstract entities “emptiness,” “concreteness.” In an even more Surrealist mode there appears the “phenomenal image” of the palm of the hand. Lee Kuang-Yu is in control of his formal aesthetics, which is to say he does not incorporate fixed principles; sometimes his images will represent classic Yuandiao of a typical sculptor giving consideration to a sense of bulk and fullness. He will make the form of the head very full, but in portraying the structure of the hair, the face, eyebrows, eyes, and eyelashes, he will adopt linear, “painterly” techniques, mixing them in a “sculptural” volume. With this freedom he can liberate the inherent Yuandiao that is in the formal sculptural concept, and he can also impart a rich vitality to the form of the work.

The interpenetration of the image of “emptiness” and “concreteness” in this open work by Lee Kuang-Yu is a new concept of space that cannot be taken lightly. The idea of using negative spaces in solid forms in modern sculpture was initiated by Alexander Archipenko (1887-1964), a US citizen who was born in the Ukraine. At the end of 1908 he went to Paris, where the Cubist movement was in its second year, and his concepts of the plastic arts tended toward geometrized forms. He then became close associates of the

12 The

Italian Renaissance architect, painter, and mathematician Leon Battista Alberti (1404-1472) invented this method of perspective viewing in around 1435, and it is still in use today to render illusionistic three-dimensional images on a planar surface.

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main advocate for Suprematism, Kazimir Malevich (1879-1935) and his student El Lissitzky (1890-1941). In 1912 he then invented the concept of empty, negative space within an artwork, and a new interpretation for the empty space within a sculpture that was no idle formulation. He wrote, “In art the shape of the empty 13

space should be no less significant than the meaning of the shape of the solid matter.”

After him, there

were the Russian-born French sculptor Ossip Zadkine (1890-1967) and the American Henry Moore (1898-1986).

By using the image of emptiness and form of concreteness, they established the relationship between the inner and outer, and the interdependence of empty space and material substance. Zadkine’s Le poète ou

hommage à Paul Éluard (“The poet, or homage to Paul Éluard ,” 1954, Jardin du Luxembourg) is the artist’s work on the Surrealist French poet, completed two years after Éluard’s death. A first inspection of the work shows the influence of Cubism in the way surfaces reveal volume, but then the upper half of the body, from the chest to the navel, is penetrated by a hollow, producing an image of competition between the solid portion and the empty space. In other words, the figural image of emptiness is executed simultaneously with the concrete form of the composition; neither has priority, and there is no primary/secondary or guest/ host relationship by which to distinguish them. Here negative space and positive space occupy the same level of concrete significance, just as the alternating cosmological Yin and Yang and the cycling of the universe, sometimes there is mutual coordination, and other times there is strife. In the 1930s, Henry Moore began to actively explore “piercing forms” and “open space,” and in his later works featured convex and concave spaces opening directly within his figurative forms. More precisely, “negative space” had priority within his finished concrete forms, or at least was firmly synchronized with them.

Lee Kuang-Yu’s works combine, integrate, and transform the discussions and dialectics of negative and positive space in the three sculptors mentioned above. Extending this, a “transcendimensional space”, or positive-within-the-empty, is added. This is part of a new concept of space that he calls “context”. From the empty spaces seen within his work Refuge (2013, bronze, 39×31×73 cm) we can discover an ambiguous idea of spatiality in its “negative space,” clearly delineating Lee Kuang-Yu from the Western sculptors of the previous years in its treatment of the category of interpenetrating emptiness and concreteness. My reason for calling Lee Kuang-Yu’s concreteness-within-emptiness “transcendimensional space” is due to the fact that this concave space actually retains an oscillating contour, in form like the rippling of a mountain landscape.

This topology also occurs in the human figure, and is not a bizarre oddity; it is an “alternate space” that is a cosmos that transcends the cosmos, a heaven beyond heaven. This is at the heart of the vitality of Lee Kuang-Yu’s sculpture, and in attending to this visual image, we hear its rhythmic pulse and breath.

III. Time is the chronicle of the event and the liberation of form

Conventional wisdom holds that the work of art should transcend its times in a kind of “eternity,” which means that for the visual artist, time is not the primary consideration. Regardless of the fact that since time immemorial, painters and sculptors have taken the changing seasons of spring, summer, fall, and winter as their subject matter, and have embodied this in three-dimensional form, the principal question in their creative exploration has been that of “spatiality”. The only art-historical movement to emphasize the factor of temporality has been Futurism, for example Umberto Boccioni (1882-1916), in his Unique Forms of Continuity in Space (1913, bronze, 126.4×89×40.6 cm, Galleria d’Arte Moderna, Milan). Futurism arose from a specific historical background. The glittering halo of the Italian Renaissance made Italy’s artists over infatuated with the grace and ideal beauty of

13 Rachel

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Adler, Archipenko , Rachel Adler Gallery, New York, 1993.

ancient Greek culture, with the result that they eventually became indifferent to their own times and obstinately held to a kind of passéism. Thus, poet Filippo Tommasso Marinetti (1876-1944) published, in the February 20, 1909 issue of Le Figaro , his Futurist Manifesto, the fourth paragraph of which states: “We declare that the splendor of the world has been enriched by a new beauty: the beauty of speed. A racing automobile with its hood adorned with great tubes like serpents with explosive breath ... a roaring motor car which seems to run on 14

machine-gun fire, is more beautiful than the Victory of Samothrace.”

The emergence of Futurism can thus be

described, on the one hand, as an “event” arising from an aesthetics of force triggered by twentieth century civilization. On the other hand, it was also a “historical event” arising from particularities had accumulated for a long time within Italian history.

Focillon wrote, “To speak of the life of forms is inevitably to invoke the idea of succession .” He continued: “But the very idea of succession presupposes different concepts of time. Time may be interpreted in turn as a fixed norm of measurement or as a mere general movement, as a series of immobile happenings or as 15

a continuous mobility.”

Historical disciplines dissolve this contradiction by means of definite structurations.

History is research and investigation into past events, and if no framework of “time” has been adopted as a benchmark, historical research degenerates into meaninglessness, with no consensus about its proper task. As everyone knows, the three principal elements of history are persons, places , and times , and so the concept of time, for the historian, is an important means of research. Chronology, a basic framework for structuring history, is arranged according to decade, and in the investigation of peoples in their geographic locations, there are further subdivisions into particular events happening in every key moment in every year.

Historians impose temporal boundaries of centuries for incidents accumulated across generations, and over the interval of one hundred years, observing their development and evolution, summing up the distinctive features of each century, and bestowing on each a particular formal appearance.

At first glance, art-historical developments would seem to follow the trajectory of historical ones. but artistic creativity is not a foundational historical event . However creative or revolutionary a work of art may be, its origin may be due solely to the individual artist and the fruits of his or her private reflections. It is not necessarily a reflection of the contingencies of its historical context (historicity), so that frequently, explanation will proceed in the reverse direction, and forms of thought be adduced to explain the historicity that is external to the work. This is because artists do not consider the thought processes behind artistic creation to be subject to any “progressivist ideology” in cultural history. This progressivist ideology adjudicates whether a society and culture is backwards or advanced according to directionality in time. So a more advanced epoch implies a social organization that is culturally more excellent and more complete. This “evolutionism,” adjudicating whether or not a society and culture is advanced in accordance with a timeline, actually contains an element of ethnocentrism, which has prompted the criticism of anthropologists and scholars in the human sciences such as Claude Lévi-Strauss (1908-2009). Anthropologist, ethnologist, and philosopher, he was a seasoned academic and member of the Académie française. In 1971, on the invitation of the United Nations Educational, Scientific and Cultural Organization (UNESCO) he gave a lecture entitled “Race

et culture ” (“Race and culture ”) that earned a resounding standing ovation. The text of the lecture was published in the Revue internationale des sciences sociales (UNESCO, 1971/12). This text may be regarded as an amplification of a text he wrote in 1952 published under the title Race et histoire (“Race and history ”).

Levi-Strauss both acknowledges and applauds the ethnic differences that exist and have existed across different historical periods, denying the primacy of any evolutionism or progressive ideology. He steadfastly advocated cultural relativism, and the support of cultures that have been marginalized and face extinction.

14 Le

Figaro , February 20: “4. Nous déclarons que la splendeur du monde s’est enrichie d’une beauté nouvelle : la beauté de la vitesse. Une automobile de course avec son coffre orné de gros tuyaux tells des serpents à l’haleine explosive…une automobile rugissante, qui a l’air de courir sur de la mitraille, est plus belle que la Victoire de Samothrace.”

15 Henri Focillon, op. cit. p. 83: “Parler de la vie des formes, c’est évoquer nécessairement l’idée de succession…Mais l’idée de succession suppose des conceptions divers du temps. Il peut être interprété tour à tour comme une norme de mesure et comme un mouvement, comme une série d’immobilités et comme une mouvement mobilité sans arrêt.”

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There is indeed a sequentiality to history; different ethnic groups create their own history, accumulating their own culture. There is only difference; there is no precedence by age, nor any distinction between backward and advanced cultures. Of works that bear the weight of this macroanalysis, there are none more apposite than the sculptural creations of Lee Kuang-Yu. His Mouth(fig.4) goes from the Chinese pictograph to the story of Adam and Eve in the Book of Genesis in the western holy scriptures, covering the expanse of time that has passed since the origins of humankind in its diversity of history and cultures. By assuming the burden of temporal memory in this way, Lee Kuang-Yu is also responding simultaneously to postmodern thought.

For him, “time” is “chronology,” the accumulated events of different epochs; the “form” is synthetic, it is open, free, liberated. Newer works, such as Intoxication (2013)(P.138) is even freer and more untrammeled with respect to “form”. Like a Sui-Tang period figure, it resembles a human body wrapped in a lotus leaf, or more aptly, one that is formed from a lotus leaf. But the natural and dynamic movement that the human form should have is also of a piece with the natural form of the lotus leaf, and is vivid and lifelike in its taking on of both interdependent roles. It is both human figure and lotus leaf. This doubling of the body into nonhomogeneous surfaces recalls the anachronistic illogic of Surrealism, a stark contrast with Cubism’s logic of simultaneity, where disparate components of homogeneous surfaces are presented at the same time.

Of necessity, the two elements of space and time must be bound together, and in Lee Kuang-Yu’s aesthetic concept of doubling of the body is the transformation of the speed of time into “pull” and “the symbolic,” but it is also a new extension of time into “conductor” and “carrier”. Wandering in the Misty Mountains (2013)(fig.5) is basically the palm of a hand, and in principle the hollow of the palm and the back of the hand form two surfaces of one body. This is not, however, the normal palm of a human body: both visual image and haptic texture of the hollow of the palm and the back of the hand degenerate, each allowing a qualitative change in the other, forming two heterogeneous surfaces in the one body. The hollow of the palm goes from bearing an abstract haptic surface to penetrating the “negative space” of the back of the hand. A new space is extended, and within this “negative space” appear symbolic clouds that lead the imagination of the viewer to a vivid image personified, of the ramifying peaks of a mountain range stretching to the end of the extended fingers. This hand thus becomes a “carrier” of Eastern philosophy, a mode of cultural thinking, and space-time conversion. Moreover, the form and image of this “carrier” wanders in the “indeterminacy” between abstract and concrete, and in the “deconstruction and construction” of space-time. This releases Lee Kuang-Yu’s works from the spirit of “postmodernity.”

In Flying (2013)(P.146), admittedly, we are reminded of the Futurist artists alluded to above, because of the feeling of speed engendered by the figure’s seeming to throw itself at us, as Boccioni’s Unique Forms of Continuity in

Space . The spatiotemporal concepts in Lee Kuang-Yu’s works are expressed in his method of doubling of the body. Taking as theme the intimate embrace of heterosexual passion, the body is formed of several parts, constructed largely along the lines of the Yuandiao concept, and the forms of the limbs turn and intertwine somewhat like planes. This intentional deviation from the rational norms of anatomy and physiology ratchets up the tension of the work and constructs a random displacement to sustain the image and energy of movement and incessant transformation. Here, the flattening of the conjoined male and female heads is indeed a “carrier” of true “time”: One side of this surface is scored to reveal a man’s eye and cheek, which corresponds on the other side to a surface molded into a woman’s facial features. What is expressed here are not two different styles, but a symbol of the interchange of time and space, and figural form freed from logical constraints.

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IV. Material is the flesh and blood of sculpture, and form is its activation

What goes by the name of material is simply material substance? The life of form is ubiquitous, and yet once form is unable to instantiate itself with the aid of matter, it remains a mere mental form. As Focillon writes, “To the extent that it is divorced from material, form is but a view of the mind, a speculation on extensibility 16

reduced to geometric intelligibility.”

Artistic creations, particularly three-dimensional ones, are even more

intimately linked with material substance. Without it there can be no work of art, and without material substance, there can be no way to know the appropriate form in which art will manifest. Thus, since ancient times, the spirit has been valorized over material substance in a philosophy of idealism, as well one that emphasized the dependence of the spirit on matter in a philosophy of materialism. On balance, spiritmatter, or matter-form, are antitheses, to some degree, but they are also interdependent to some degree.

The transformation of material substance into an artist’s work of art is not something that logic can explain with its binary oppositions, however. Selection of materials and reflective judgment must take place in this artistic process. There must be speculation on the color of the materials, their density, texture, and patterns, and whether the artist can expect that these materials are adaptable to his or her formal language.

Moreover, material substance is essentially the natural form, and this will influence the artist’s aesthetics and specific formal process. The creator’s abilities with respect to specialized techniques, ways of handling and applying the materials, and so on, are all factors that indicate the extreme complexity and subtlety of the processes by which material substances are transformed into works of art. Once this process has been completed, the material will never have the attributes it originally had. The wooden statue will never again be the wood of the tree; a large stone cut into a human figure will never be marble for the construction industry; gold, silver, copper, or other metals, once cast into statues, are already unknown metals and will never again be metal or in the seam of mine. The brick or pottery fired from the kiln no longer has a relation with their original clay. Material substances, although originally natural, are processed by the artist and afterward are transmuted into the artist’s expectation of “form” and “image” and no longer represent natural materials.

When we look at Lee Kuang-Yu’s works from 2013 until 2014, we see casual mastery and effortless success in his innovations in form and image. He shows attentive understanding, control, selection, and development of his materials. His investigations into the question of materials can be divided into two areas: casting and molding. To begin with the latter: At a deep level he recognizes that clay sculpture is not the sole method of molding. It is not even sufficient to realize or solve the problems of the forms he intends to realize. Radical transformation requires the destruction of the old. As for “ready-mades” or “assisted ready-mades,” Lee Kuang-Yu would gladly try them and publicly share them if they could assist his new aesthetic language.

Many artists are unwilling to disclose their creative processes, but Lee Kuang-Yu is pragmatic and generous in this regard, and explained to this author his method of molding, and how he uses his materials. He said that often, because of requirements of a shape, he would bend a plastic backing into various shapes and forms, and then apply from 0.2 to 0.3 cm of gypsum paste, and after it had set he would remove the plastic 17

backing, and thereupon apply surface texture to the gypsum.

It is exactly this process that is Lee Kuang-

Yu’s unique “free-form creation”. Of course the forms he makes in this free-form creation is subordinate to the overall needs of his molding, in augmenting or lessening his structures and articulations. His process of molding involves incessant addition and subtraction (he prefers that subtraction should replace augmentation), and this lets him take advantage of a variety of materials. In this method it is impossible to

16 Henri

Focillon, op. cit. p. 50: “La forme n’est qu’une vue de l’esprit, une speculation sur l’étendue réduite à l’intelligibilité géométrique, tant qu’elle ne vit pas dans la matière. ” 17 Personal communication of Lee Kuang-Yu on February 21, 2015.

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know in advance the final form of the work. When a precise aesthetic intuition lets him know when to stop, having arrived at the form and image he was expecting, the molding process is complete. It is only at this point that the form is finished and born. The entire process is full of randomness, a postmodern notion of the sporadic, with innovation playing an intermittent role. Moreover, it is important to emphasize that the part played by the processing of surface textures also belongs to Lee Kuang-Yu’s concept of form, and is enabled by the material “carrier”: materials are scraped, rubbed, broken, cracked, made concave or convex, pitted, bored. The molding acquires an extremely natural character, as if tens of thousands of years had left their mark, and the signs of a historical memory. This way of processing material reminds this author of a Spanish artist who passed away only three years ago, Antoni Tàpies (1923-2012), whose way of processing textured surfaces was very much attuned to Lee’s.

The second area of Lee Kuang-Yu’s concern with materials centers around the bronze casting. After a mold has been completed, it is taken to a foundry where a bronze work is created from the cast through the lostwax process. After cleaning, the surface is dyed and treated with verdigris, the main ingredient of which is basic copper carbonate. Using carbon dioxide or acetic acid gives the surface a green corroded layer, composed of the elements of copper, oxygen, and carbon, also called a patina. For a bronze to achieve this verdigris patina naturally would take a long time, at least 20 to 50 years. Once the verdigris is produced, it acts as an extremely high-density protective film, and also lends a historical aura or the flavor of a cultural artifact. The patina is not dissolved in water, but it can be using acid, so Lee Kuang-Yu uses acid to process the patina and change the color. This procedure is extremely important, as it can change the visual effect, the feel of the material, as well as the original texture of the material. It can intensify time, historical memory, and the cultural aura of the piece. Thus, having undergone this processing, the material is no longer a natural substance, the bronze having achieved the status of an animate, non-natural thing. To enrich the dialogue between materials, the artist may apply different metallic casts. For example, Setting Sun (2013) (P.110), is a sculpture in the round assembling a main figure with a decomposing surface, a construction that simultaneously enacts a human figure with drapery. The texture of the surface on which the figure reclines is multivariate, and is finished in a bronze cast. Elsewhere in the piece there are smooth curves that resemble a magic mirror reflecting deformations of the body, producing an illusory form of a block-like body. This portion is of stainless steel, while the bronze material is a dark brown, juxtaposed with the shining flashes from the stainless steel. This produces a visual contrast, a formal correspondence and interaction. For Lee Kuang-Yu, materials are the eternal flesh and blood of sculpture, and the key to vital forms.

V. Spirituality issues from the skilled artificer, the artificer creates spirituality

A pastoral-themed work full of western and traditional Asian religious stories, Calling Birds (2013)(P.122) is both infatuating and thought-provoking. A shepherd, sitting on the back of an ox, one foot dangling to the ground and the other astride the ox’s back, is delineated in lines of movement that are flowing and graceful. He plays the reed pipe excitedly, a familiar sight, yet there is a hint of desolation and sadness.

The form of the ox is even more dreamlike compared to the shepherd, having become a massive block, and from some angles its head is askew, revealing a crooked horn. In a conceptualized twining of bodies and limbs, it seems to be attentively listening to the main figure’s melody, like an Asian version of the god of music, Orpheus, with his temple on Mount Parnassus, surrounded by beasts and songbirds, charming

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the world with his music. How could Lee Kuang-Yu have created a fresh and unique sculpture with such aphrodisiac qualities? It impels the observer to sing with him in its spirituality.

The proverb “appearance arises from the heart” comes from a story in which the Tang Dynasty minister Pei Du (known as Zhong Li) encountered a Buddhist monk as a young boy, and is also a Buddhist saying, and in both uses it refers to the relation between one’s inner cultivation and one’s outer appearance.

Over the past several years, Lee Kuang-Yu has been engaged with Buddhism, which has given him insight into various philosophies of life. He once told this writer, “I encountered Buddhism through reading Buddhist scriptures, which was not like in-depth academic study and interpretation, but rather was an inner 18

experience of philosophy that I had not known about up to that point, or knew about only indistinctly.”

Over the years we have seen the Buddha’s gestures, sayings, statues appearing within Lee Kuang-Yu’s works in various different artistic contexts, enough to realize that the artist sees an overall, recurrent cycling from spirit to matter, from matter to creation of form, and from creation of form to spirituality. While it is true that “appearance arises from the heart” is a proverb that relates to human nature, it has a mysterious connection with the link between creating forms and spirituality. Reaching a mature understanding after a period of mental gestation, until the moment its ripeness is achieved, form will naturally and ingeniously appear if it has appropriate materials and when it is processed by the hand that is following the heart.

When that period of mental gestation has reached a state of unalloyed maturity, creation of form is realized through the hands of the skilled artificer. The hands of the artificer constantly manifest the inner creation of forms, using the materials they encounter, with which they are familiar and which they understand through accumulated knowledge and experience. And this in turn purifies the mind again of the artificer. The proverb “spirituality issues from the skilled artificer, the artificer creates spirituality” expresses what Focillon, as described above in this essay, has said about the “life of forms.” I will therefore not go into too much detail, but simply analyze Lee Kuang-Yu’s recent work, to explain his new aesthetic, and the links between his spirituality and human relations.

In his 2014 work Thinker (P.156), Lee Kuang-Yu achieved a complete breakthrough from the Yuandiao sculpture-in-the-round tradition, deconstructing the fragmentary and the surface, and constructing an unprecedented negative space and positive space, creating a new image of the body: one that is both concrete and abstract, both real and surreal. This artistic context actually first began to take shape between 2008 and 2009, coming to fruition in 2013 and 2014, when Lee Kuang-Yu fully came into his own in a new era in his career as a sculptor. In the work we have sketched here, each individual part stands complete and independent, each manifesting a unique perspective without necessarily having to form into the various components of one person. But taken as a whole, there is a unifying thread in Thinker .

Compared with August Rodin’s Le penseur (The Thinker ,1840-1917), Lee Kuang-Yu’s work has a completely different history and cultural import. His is rooted in the seated meditation posture typical in Asia, being attentive and not confining oneself to formalities, flexible in letting go of restrictions on one’s spiritual nature, letting go of thought in favor of the Dharma.

19

Lee Kuang-Yu’s artistic context involves a renovation of

existing conceptions of space, time, and materials.

Subduing (2014)(P.148) interprets a serious metaphor in a free and leisurely way. The metaphor comes from Asian philosophy: “Using softness to conquer strength.” Lee Kuang-Yu play with surface and body reveals an upside-down body with both legs in the air, both hands grasping the back of a heroic tiger. The tiger and lion are kings of the animal kingdom; how can such ferocious creatures be so easily subdued by ordinary people? Combat with the mind is superior than fighting with the body. It is compassion, and not

18 Cf. note 19 In

8 seated meditation, both legs are crossed, and this is called shuangpan , and also the Lotus position. Sitting with one leg withdrawn is called danpan .

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violence, that subdues the wild tiger. Whether man or tiger, Lee Kuang-Yu adopts satire and humor in his work, with the spiritual qualities of the sayings “overcoming the mind is harder than defeating a tiger,” or “using softness to conquer strength.” Subduing also alludes to the Buddha’s attaining enlightenment by overcoming the heart, in the proverb “cutting off worry and subduing the mind”. The important thing is that

Subduing is an unconstrained and apt presentation, with a unique style that arises from a perspicacious mind, and practiced hands. In other words, “spirituality issues from the skilled artificer, the artificer creates spirituality,” in a virtuous cycle that bears positive fruit.

Empty Procession (2014)(P.152) is a work inspired by the traditional Tibetan Buddhist dakini. Dakini signifies a female supernatural being with powers enabling her to travel through the sky, and represents wisdom and compassion. She also represents the female energy of sudden illumination. Lee Kuang-Yu had a clear spiritual understanding from religion, and naturally developed Buddhist wisdom and knowledge. This turned his hands into precise instruments creating the Dakini from his own heart-wisdom. With one foot standing lightly on tiptoe representing the masculine tortoise-deity, symbolizing harmony of yin and yang. The other foot is in mid-air and forms the lotus meditation posture with one leg. Both arms are spread wide to the wind in a splendid posture that possesses both spirit and contemporaneity, rich with rhythm and dynamism.

VI. Conclusion

“Form” is living. “Form” is a mode of life. Whatever is extant, whatever exists, exists for us in the mind, exists in the manifold of things. It lives contemporaneously with us, lives within historicity, and lives within the space of our imagination and our futurity. Lee Kuang-Yu’s art shapes plenitude from the incomplete, and he has refreshed rigid definitions in the history of sculpture of carving and shaping. In Structuralist terms, out of fragmentary surfaces or levels of ineffability and indeterminacy, a postmodern Yuandiao sculpture is constructed both conceptually and formally. Tension and Surrealist imagery are his concerns, and with a constant dialogue between “negative space” and “positive space,” another “alternative space” is opened, an extracosmic cosmos, a heaven beyond heaven (Transcendimensional Space), at the heart of Lee Kuang-Yu’s sculptural practice, through which we can hear its beating pulse and the rhythm of its breath.

In his concept of time, Lee Kuang-Yu does not acknowledge any one-sided ideology of progressivism or evolutionism, but juxtaposes, in an anachronism of heterogeneous historical elements, different histories and cultures, mythologies and religions, traditions, proverbs. He thereby creates an image of a surrealism of categories, and a formal doubling of the body in changing time.

Material is the lifeblood of sculpture and is its corporeal form. Lee Kuang-Yu attempts to create material juxtapositions in his works, seeking for different sculptural methods to transform the material textures and haptic qualities, and allowing Lee to instantiate his mental forms by processing surface textures: they are scraped, rubbed, broken, cracked, made concave or convex, pitted, bored, achieving an extremely natural appearance of having aged through history, a technique resembling that of the Spanish sculpture Antoni Tàpies.

In sum, Lee Kuang-Yu’s sees technique and concept as two sides of one body. He continually cultivates an active spirituality, seeking knowledge and aiming at lofty spiritual goals, and his artistic practice follows suit.

On the other hand, continual spiritual practice can become a substitute for the practice of creative art and the accumulation of experience of technique, and this makes the creative ideal ever loftier. Considered

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from this panoramic survey, this author can only offer Focillon’s statement that “spirituality issues from the skilled artificer, the artificer creates spirituality,” in tribute to the achievements and approbation he has earned from his assiduous efforts.

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圖 fig.1

凝Ⅰ Meditation I 1986 銅 Bronze 50x41x58cm

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風荷的身姿—李光裕的人文雕塑 文 / 蕭瓊瑞 美術史家、國立成功大學歷史學系所教授

在台灣近代雕塑發展的歷程中，李光裕的出現，標示著西方雕塑在台灣生根成長的茁壯與成熟； 也是西方雕塑在台灣由外形的精確寫實、表情的形塑模擬，歷經抽象語意的造形、純粹形式的結 構，進入精神空間的掌握與肌理律動的調控。 台灣近代雕塑的展開，以 1920 年代黃土水的古典寫實雕塑為標的，戰後進入現代主義形象解構 的衝擊。李光裕生長的時代，正是台灣現代主義達於高峰、即將走入鄉土運動的階段。李光裕巧 妙地結合了這兩個階段的滋養，成為臺灣雕塑史戰後第二代的標竿型人物。 1954 年出生在台灣南部、高雄內惟的李光裕，父親曾留學日本東京學習「工業設計」，這在當 時是相當先進的學科，但是回到台灣後，並沒有這樣的環境讓他發揮，只能在小學教美術；也因 此，李光裕自小就在父親的影響下，塗塗畫畫，美術成了他最有興趣的學科。同時，李家隔壁住 了一位為人畫祖先肖像的師傅，那些「寫真」的技術，引發李光裕的興趣，決定跟隨學習，竟也 得到父母親的支持。 不過，在學校裡，李光裕顯然不同於同年紀的小孩，他喜歡獨自一人躲在學校的防空洞中，隔絕 外界的干擾而自覺愉悅；因此小學畢業時，老師的評語是「孤癖不群」。中學時期，在當時的升 學壓力下，他仍執著於繪畫的學習，包括：西畫和國畫，也衷情於書法。至於為何會走上雕塑之 路？完全是高中美術老師黃光男的一句話：建議他去學雕塑。於是大學聯考時，他只填了國立藝專 ( 今國立臺灣藝術大學 ) 雕塑科，果然就如願考上，那年是 1972 年。 藝專雕塑科一年級時，正好藝專學長任兆民自西班牙留學返校任教，任老師一身瀟洒的打扮，強 烈的藝術家氣質，深深地打動了這位來自高雄鄉下的年輕男孩。似乎有一個遙遠的聲音呼喚著 他，於是他開始學習西班牙文，準備畢業後就出國留學。同時，在藝術的學習上，也展現過人的 狂熱，他經常趁夜校生放學後，翻越天窗爬進素描教室，徹夜練習素描；白天則揹著畫袋到處寫 生，自我幻想是梵谷的化身。 不過留學之路顯然沒有想像中的順暢，畢業後只能先去服兵役；退伍後，在臺北開了一間畫室， 但是生意清淡，乾脆利用空檔，前往舞蹈教室學習古典芭蕾……。然而，這些當年看來有些錯置、

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圖 fig.2

湧泉 Fountain of Life 1986 銅 Bronze 50x45x117cm

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荒謬的舉動，事實上都在日後的創作中，成為創作的養分，包括：南部故鄉的泥土、池塘中迎風 而動的荷葉、書法的線條、芭蕾舞的身體律動……等等。 1978 年，他終於獲得西班牙的入學許可，並進入歐洲聞名的聖費南多藝術學院，跟隨以人體結 構著稱的西班牙雕塑家托雷多 (Toledo) 教授學習；在這裡獲得了藝術知識的開展，那是一種從 實踐中獲得的生命啟蒙。畢業後又進入馬德里大學美術學院，取得碩士。1984 年返臺，適逢國 立藝術學院 ( 今國立台北藝術大學 ) 成立，順利進入該校任教，直到 2006 年退休。從世俗的標 準看，李光裕的藝術事業之路，似乎是順利得令人稱羨；然而，從生命的歷程看，李光裕掌握藝 術創作的能力，顯然沒能和應付現實生活的能力，劃上等號，在處理諸多如感情生活、經濟生活， 乃至精神生活的問題上，李光裕事實上經歷了常人無法想像的挫折、困頓與壓力。不過，也正因 為這些挫折、困頓與壓力，藝術創作就成了他生命能量的唯一「出口」；而對東方古典知能的學 習，包括：古董、佛理、太極拳……的學習，也都成了成就他創作生命的活水泉源。 回顧李光裕的創作，1986 年應是其藝術生命初步成熟的關鍵年代。初回藝術學院任教的一兩年 間，李光裕為自己的所學、所教所困擾，總覺得自己像是一個推銷洋貨的買辦，能夠提供給學生 的，都是西洋的東西，欠缺一個自我思想的系統；而就在這樣的困境中，無意間在臺北重慶南路 的書店中翻到一本《六祖壇經》，他忽然發現：只要把經中所有的「佛」字換成「藝術」，整本 書就成了一本藝術論。 這種發現，就如蘋果掉到牛頓的頭上就發現了地心引力那麼簡單，其實那只是靈魂透悟的一個外 力因緣。自來對佛學就有著相當體悟的李光裕，在《六祖壇經》中發現藝術的體系，也就是一套 對人、對世界、對萬有的一套理解體系，也就讓他在西方學得的雕塑技法與觀念，一下子找到了 一套屬於自我、也是屬於東方的理解方式與路徑。1986 年的〈凝Ⅰ〉( 圖 1)、〈湧泉〉( 圖 2) 與〈手 非手〉(p.061)，正是這個轉折產生下的第一批作品。 這三件作品，都是以人的身體局部為題材，分別是頭、腳和手，然而就如手一作的題目〈手非手〉 所示，其他兩件，其實也都是〈頭非頭〉、〈腳非腳〉；簡單地說：以局部代替整體，「人」是 李光裕關懷的主題，就像他的老師托雷多是歐洲知名的人體雕塑大師，但是老師所關心的，是結 構、空間，和量體；而李光裕在這些人體的局部中，呈現的，卻是對東方式的山水思想、人的解 脫與自處等等問題的關懷與探討。人和風景的一體化，從這個時期開始，就成了李光裕人文雕塑 的核心思維與特徵。〈凝Ⅰ〉的安適、凝定，那是一種心靈極度放鬆的神態，非佛即佛，人的頭 部完全放鬆地交托給那隻斜陳的手，沒有脖子、沒有手臂，形成一種凌空的輕靈。那是一種人文 的風景、精神的意境，也是東方拳術太極拳法中，太極起式的第一步：凝神靜氣、內觀自得；當 然也是佛者禪定的境界。 〈湧泉〉也是太極拳，乃至中醫的術語，所謂「凝神入穴，息息歸根」；這「根」，也就是足部； 腳的盤根運作，乃是太極拳中紮根的基礎。在太極拳的行拳中，氣在體內運行，一旦凝神入穴， 便可足底「湧泉」。「湧泉」即為生命之泉湧，就中醫的角度言，一足一人，由指尖到足根，分 別就是人的頭部到底部，底部即起點，也稱湧泉。 因為〈湧泉〉，因此這件作品充滿一種飽滿脹裂的意象；而這種意象，乃是利用陶板拍打泥土所

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產生的一種鬆、緊不同而有的斑剝感，也因此形成一種內部的氣與外在的形，相互牽引、拉扯而 散發的能量感與張力。 〈手非手〉也是藝術家在練習太極拳後，所體驗到的一股氣透指尖的神秘能量；由於練功，而使 手感覺微微膨脹，有如觸電般的感應……。這種被作者稱為「內功美學」的創作，也就宣告李光 裕正式從乃師的思維系統中獨立出來，成為一個兼具西方雕塑技巧與東方精神美學的傑出雕塑家。 〈凝Ⅰ〉、〈湧泉〉、〈手非手〉都完成於 1986 年，也都成為爾後李光裕創作幾個主要系列的 最初源頭；特別如：由〈凝Ⅰ〉引申出來的〈凝Ⅱ〉(1995)(p.237)、〈凝Ⅲ〉(1995)、〈早春〉(1996) (p.084)、〈靜思〉(2008)、〈迎春〉(2009)，以及由〈手非手〉引申出來的〈手非手Ⅱ〉(1989)、 〈幽蘭〉(1990)( 圖 3、4)、〈臨風〉(1991)(p.058)、〈印〉(1991)、〈玉女穿梭〉(1991)、〈春 在枝頭〉(1991)、〈供春〉(1994)、〈幽谷〉(1995)、〈山隱〉(1996)、〈寶印〉(1996)(p.194)、 〈璧〉(1998)(p.068)、〈拈花Ⅰ〉(1999)、〈供春Ⅱ〉(2001)、〈拈花Ⅱ〉(2003)(p.196)、〈拈 花Ⅲ〉(2012) 等。而以兩隻手形成的系列，更在 1999 年的〈牽手〉、〈心手相蓮〉、〈蓮花持〉 (p.017)、〈小公園〉和 2000 年的〈合〉等一些帶有象徵意涵的公共藝術之後，在 2007 年形成 「手印」系列，如：〈五蘊〉、〈五識〉、〈寶山〉、〈金杵〉、〈小金杵〉、〈無雙〉、〈息 印〉(p.200)、〈觸地〉、〈西窗〉、〈大寶海〉，以及 2008 年的〈五明〉(p.202)、〈二葉松〉 (p.198)、2009 年的〈雲誼〉、2010 年的〈十方〉等。 當然在這些看似同一系列的作品中，其實都有一些頗為微妙而深沈的變化，特別是以手為題材的 作品，在原本飽滿、微脹的雛型下，1991 年的〈臨風〉開始出現「修長」與「破洞」兩種特徵。 「修長」使得李光裕的雕塑有了更多屬於線條的變化。原本「手」之作為人體器官的局部，便充 滿了線條的表情，不一樣的線條，顯現不一樣的肢體語言，也就蘊含不一樣的氣氛與內心世界。 拉長後的手指，更加強了線條的豐富性，乃至自由性，而這種線條輕重、緩急、頓挫或流暢的表 情，事實上正是李光裕早年對書法學習的心得。至於「破洞」的出現，則是在挑戰原本的豐實與 完整。一件過於完整，乃至甜美的作品，容易限制觀者的想像，甚至令人感覺生厭；因此，適度 的破壞，便可產生更多的空間，包括物質的空間和精神的空間。這種「破洞」美學的根源，甚至 可以從中國古代園林賞石中的「太湖石」獲得印證，但同時也是藝術家童年故鄉風荷破葉的印象； 何況在現實生活中，藝術家面臨的困境、破碎，往往多於圓滿、豐實。 不過，在李光裕將近卅年的創作生涯中，除了這些以身體局部作為創作題材的作品之外，以人體 尤其女體為題材的創作，顯然也是自成一個體系。甚至可以說：那些以身體局部 ( 頭、手 ) 形成 的作品，代表著藝術家較為宗教、理想、光明的一面；而那些以女體為題材的創作，則暗含著藝 術家苦悶、掙扎、世俗、情慾的隱密面向。1987 年的〈蓮藕聯想〉正是這個體系的最初呈現。 〈蓮藕聯想〉是李光裕少數可見的木雕創作，取名〈蓮藕聯想〉也顯示南臺灣故鄉的蓮田記憶， 仍在他的創作生命中佔有的重要位置。這件作品，以看似一人、又似兩人相擁的構成，將身軀、 肢幹作成渾圓的節狀，一如蓮藕的形狀。這個似一實二、似二而一的造型，除了表達「你中有我、 我中有你」的如漆愛情外，也造成了觀眾視覺上辨視的挑戰；而下肢，尤其足部的刻意扭曲，則 形成造型上的一種張力。顯然，異性間的愛慾情仇，一直是藝術家擺脫不了的生命課題。女人的

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圖 fig.3

幽蘭 Orchid 1990 銅 Bronze 高 (H)83cm

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圖 fig.4

幽蘭 II OrchidII 1990 銅 Bronze 高 (H)200 cm

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柔軟、溫順，是藝術家追求、愛戀的對象，但女人的好嫉、善變，似乎也是藝術家無法應付、處 置的難題。因此，藝術家愛女人，也愛貓，雕塑女人，也雕塑貓，因為女人似貓。在 1988 年的〈蛻 變〉中以軀體捲曲如貓的女人為題材之前，便有一系列以貓為題材的作品，如〈偎〉、〈聽勁〉、 〈迴〉、〈情〉（均 1988）等。而〈蛻變〉一作中，女人軀體的扭曲，事實上是現實人體無法 完成的動作；這種透過外在形體的扭曲，來呈顯內在精神的掙扎，也就形成了作品強烈的張力。 至於〈蛻變〉的頭部、軀幹，是男？是女？也有在男人、女人之間辨證滲透的意涵。 1990 年的〈峭〉，則是目前可見最早較完整的女體，但這件無頭、無手、無腳的女性軀體，則 是利用學生廢棄的一件石膏像所作成。李光裕透過這件作品，來教導學生如何找出作品中的可能 性。正如他自己在西班牙留學時，有一次做了一件牧童的作品，托雷多教授走來，只簡單地將作 品扭一下、折一下，便馬上變得生動又有造型；這種從破壞中找出新的可能，也是李光裕日後創 作中經常運用的技法，尤其是在以人體為題材的創作中特別常見。 1995 年的〈山行〉、〈藏寶〉(p.086)，都是將人體壓縮到極致的作法，再局部的切除、破壞， 乃至重組；〈藏寶〉後來又發展成〈藏〉(1999) 的 A、B 兩作，展現不同角度、不同性格的視覺 意象，而那足尖挺立的動作，正是早年學習芭蕾舞的體會。緊張和不安，似乎一直是李光裕女體 雕塑常見的主題，即使在較寫實的〈緩解與張力〉(1996-1999) 一作中也不例外。而這種不安， 有時還擴大到一種情境的狀態中，如 1996 年的〈滑落〉，一個被肢解重組的女體，躺臥在一張 有著高突舖墊的床上，形狀恰似一隻睡在沙發椅上的貓，緊臨邊緣，一不小心就將滑落地面。 女性顯然是藝術家既愛又怕、又無法迴避的生命挑戰，他既歌頌，如〈流水〉(1997)、〈春尖〉 (1997)、〈冬蛹〉(2001)(p.090)、〈秋蛹〉(2008)、〈春蛹〉(2009)，又窺視，如：〈軟玉〉(1998)、 〈良宵引〉(1998)、〈倚牆〉(1999)；既防患，如：〈危險女人〉(1999)，又沈溺，如：〈雨〉 (2006)、〈嗄屋〉(2007)……。李光裕的創作，顯然以這些女體系列，最具個人情感的映現。 2007 年的〈荷畔〉(p.094)，將女體與荷花結合，人體與植物合一，都是風景的一部份，而荷的 多姿、荷的殘破，也成了女人無法迴避的命運。某些時候，女人也成了藝術家自我投射的對象， 如〈無逝歲月〉中包裹在荷葉中無憂無慮的女子，藝術家在無情的現實壓力中，始終期待一個不 被外界干擾，得以自足自適的山林世界，一如年少時期藏身的防空洞。 女人最後成了生命的救贖與神祗，2008 年的〈亥母〉(p.098)、〈飛天〉(p.100)，正是宗教化 了的女體。〈亥母〉是佛教密裡的金鋼本尊，也是雙修中的大樂佛母，以豬形現身；〈飛天〉則 是敦煌中自由飛翔、歌讚禮佛的女神。 在這宗教化了的女體之中，藝術家無意表達純粹宗教的訴求，反而是表達技法上的突破高點。如 〈亥母〉中扁平化的女性肢體，成為 2013 年後一批新作的源頭；而〈飛天〉軀體的切割、重組、 倒置，則恰恰給了作品極強的韌性與張力，也是豐實軀體的一個巔峰之作。 2013 年之後，藝術家心境進入一個新的階段，對世俗的看淡，在創作中有意以輕盈取代豐實， 以片狀取代實體。〈鼓舞〉(p.132)、〈女子〉(p.124)、〈舞〉(p.118)、〈一線天〉(p.112) 都 是新的嘗試與成功之作，而〈飛來〉(p.146) 與〈太極〉(p.142) 仍是對情愛的憧憬與歌讚……。 李光裕是一個極度用功的藝術家，除了 1997 年間一度擔任中華民國雕塑學會秘書長以外，幾

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乎謝絕一切外界的邀約，專事創作；高峰時期，有時一年的創作量達到 20 餘件，如 1999 年、 2007 年、2008 年，以及 2013 年等，除了文前所論幾個主要創作脈絡外，尚有許多亦莊亦諧的 作品，前者如以坐佛為原模的〈空山〉系列，後者則如〈旺旺〉(1997)、〈抽煙的人〉(1999)、 〈鄰居〉(2008) 等生活小品。 總之，李光裕的雕塑，在西方強調空間、結構、彈性的雕塑傳統基底上，賦予一個東方人自我生 命情境的思維、情感；他的創作，猶如一頁頁充滿私密的日記，與生活的札記，卻也呈現了諸多 人類共同的困境與理想。那是一種極度矛盾、衝突的調和與統一，既靜謐又騷動、既出塵又凡俗、 既剎那又永恆……。 李光裕這些以生命為出發，以西方技法為基底，創作出深具東方精神思維、又不失現代形式趣味 的大批作品，實為臺灣近代雕塑自黃土水以來，歷經戰後現代主義抽象風格的衝擊，而能將西方 雕塑以「手作的抒情」，進入精神空間的掌握與肌理律動的調控，最具標竿意義的一位傑出雕塑 家，美麗如一朵風中搖曳的荷葉。

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The Humanistic Sculpture of LEE Kuang-Yu Text / HSIAO Chong-Ray Art Historian; Professor, Department of History, National Cheng Kung University

In the development process of modern Taiwanese sculpture, the emergence of Lee Kuang-Yu marks the growth and maturation of Western style sculpture in Taiwan. As well as realistic shapes and accurate imitation of facial expressions, he creates abstract meaning from pure form, with an understanding of spiritual space and mastery of rhythm and texture.

Modern Taiwanese sculpture first developed with the classical realism of Huang Tu-Shui in the 1920s, yielding to the advance of the vivid deconstruction of modernism after the war. Lee Kuang-Yu grew up at exactly the time when Taiwan’s modernism reached its peak, and was about to enter into what was called the “homeland” or “nativist” culture movement. He cleverly combined and nourished these two phases, becoming a symbol of second generation post-war Taiwanese sculpture.

Lee Kuang-Yu was born in 1954 in southern Taiwan’s Kaohsiung city. His father once studied industrial design in Tokyo, an advanced course at the time, but on his return to Taiwan, there were not the right surroundings to utilize his studies, so he ended up teaching primary school art. Under his father’s influence, young KuangYu excelled at painting, and art became his favorite subject. At that time, the Lee’s neighbor was a portrait painting master, whose portrait skills caught Kuang-Yu’s interest, and when he decided to study portrait painting, he had his parents’ support.

In school, however, Lee Kuang-Yu was clearly different from the other children his age. He liked to hide on his own in the school’s air-raid shelter, happy to be shielded from the interference of the outside world, and upon leaving elementary school his teacher commented that he was a “lonely boy and an outsider”.

Under the academic pressure of junior high school he was still dedicated to the study of painting, including both western and Chinese styles of art, as well as emotionally expressive calligraphy. The study of sculpture was recommended to him by his high school art teacher, so when the university entrance exam came he applied to the sculpture department at the National Academy of Arts (now the National Taiwan University of Arts). Sure enough, he passed the entrance exam, it was 1972.

In his first year at the sculpture department, it happened that his older schoolmate Ren Zhao-Min returned from studying in Spain to teach. Mr. Ren was entirely dressed in western clothes, and had the strong temperament of an artist, which deeply moved this young boy from Kaohsiung. It was as if a distant voice had called him, and he began to study Spanish in preparation to study abroad after graduation. At that time, he began to show an extraordinary enthusiasm for the study of art, and he took advantage of evening classes, even crawling through the skylight into sketching classroom so he could practice sketching all night. In the daytime he took his painting bag everywhere to sketch still life, imagining he was the reincarnation of Vincent Van Gogh.

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But his plan to study abroad didn’t go as smoothly as he’d imagined, and he was forced to complete his military service. After he was discharged, he opened an artists studio in Taipei, but business was scarce, and he made use of his free time going to dance classes to learn classical ballet. These apparent misfortunes, however, all fed his creativity in the future, including: southern homeland soil, wind in the pool and moving lotus leaf, calligraphy lines and the rhythmical movements of ballet.

In 1978 he was at last allowed to study in Spain, and entered Europe’s well-known Real Academia de Bellas Artes de San Fernando, and studied under the celebrated Spanish sculptor Toledo. There he developed his knowledge of art, a kind of life instruction/initiation acquired from practice. After graduating, he returned to the Universidad Complutense de Madrid, where he obtained his masters degree. His return to Taiwan in 1984 happened to coincide with the establishment of the National Institute of the Arts (now Taipei National University of the Arts), and he entered professorship there until his retirement in 2006. From an outside perspective, the path that Lee Kuang-Yu’s art career has taken may seem to be enviably smooth, but looking at it as a living process, he grasps at the creative potential of art, clearly unable to cope with real life. In dealing with emotional life, economic life and even spiritual life, Lee Kuang-Yu in fact experienced setbacks, frustrations and pressures unimaginable to most people. However, because of this, artistic creation became the only outlet for his life energy. In addition, his studies and eastern classical knowledge, including antiques, Buddhism and tai chi all became flowing sources of creativity for him.

Looking back at Lee Kuang-Yu’s work, 1986 was a key year in the maturation of his artistic life. For the first two years teaching at the art institute, he was uneasy in his role as student and teacher, as he felt like a comprador, a purveyor of western goods. Everything he offered his students was western, and lacked the dimension of independent thought. In a book store on Chongqing South Road he came across a copy of the Buddhist text Platform Sutra of the Sixth Patriarch , and he discovered that if one replaces the word “Buddha” with the word “art”, the book becomes a writing on art.

This kind of discovery is as simple as the apple falling on Newton’s head which led him to discover gravity, and in fact it is merely an external stimulus prompting spiritual understanding. Lee, who had always had a considerable understanding of Buddhism, found an artistic system in the scriptures, that is a set of understandings about man, the world and the universe, that allowed him to unify the techniquesand concepts of sculpture he had learned in the west with his own eastern ways of understanding. His 1986 works Meditation I (fig.1), Fountain of Life (fig.2), and A Hand It Seems (p.061) are really the first set of works to arise from this shift.

These three works all use parts of the body as subject matter – head, foot and hand – and simply put: the body parts replace the whole. Lee Kuang-Yu was concerned with the theme of people, just like his teacher Toledo was a famous European master of body sculpture, but where the teacher was concerned with structure, space and form, Lee Kuang-Yu actually used these body parts to explore ideas like the eastern landscape and freeing man from himself. From this point on, integrating the human body with landscapes became Lee Kuang-Yu’s core line of thought and his works’ distinctive feature. The peace and concentration of Meditation I gives it an extremely relaxed appearance, a Buddha that is not Buddha, a person’s head completely relaxed, resting on a tilted hand with no neck or arms, creating a kind of ethereal being in the sky. It is a creative concept of landscape and spirit, and is the first step in the martial art of tai chi: with an air of quiet attention and inner contentedness, and of course it is the Buddhist’s state of meditation.

Fountain of Life also refers to tai chi, and the Chinese name of the piece is a term in Chinese traditional medicine. Yongquan or “gushing spring” is the meridian line at the base of the foot, and is considered the root of the body, and an opening for the flow of the body’s chi. In Tai Qi boxing, chi moves around the body, entering the yongquan, and it is also considered the flow of life in Chinese traditional medicine, flowing from the fingertips to the “gushing spring” at the base of the foot.

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Because “gushing spring” is so full of swollen, cracked imagery, the use of layered clay pottery creating a sense of peeling, the piece gives a sense of both looseness and tightness at the same time. This creates a tension between the internal chi and the external form as they pull at each other, distributing energy.

A Hand it Seems was inspired by the artist experiencing the mysterious flow of “chi” energy through the fingertips after practicing Tai Chi, the practice making the hands feel slightly swollen, as if an electrical current is passing through them. This kind of work, called “inner aesthetics” by the artist, has set Lee KuangYu apart from previous systems of thought, making him a distinguished sculptor who combines western techniques with eastern spiritual aesthetics.

Meditiation I , Fountain of Life and A Hand it Seems were all completed in 1986, and all subsequently became the basis for many of Lee Kuang-Yu’s major series of works. From Meditation I came Meditation II (1995)(p.237), Meditation III (1995), Early Spring (1996)(p.084), Silent Thought (2008), Meeting Spring (2009).

Similarly, A Hand it Seems inspired later works such as A Hand it Seems II (1989), Orchid (1990)(fig.3,4), By the

Wind (1991)(p.058), Prints (1991), The Shuttle of Lady (1991), Branch in Spring (1991), The Offer From Spring (1994), The Serene Valley (1995), Hidden Mountain (1996), Treasure Print (1996)(p.194), Jade (1998)(p.068),

Holding Out a Flower (1999), The Offer From Spring II (2001), Holding Out a Flower II (2003)(p.196), Holding Out a Flower III (2012). A series of symbolic public works involving two hands began in 1999 with Holding Hands , Heart and Hand , Lotus Grip (p.017), Little Park , and Combination in 2000. Later, in 2007 the Hand Print series took shape, with The Five Aggregates , The Five Receptions , The Hill of Treasure , The Gold Pestle , The

Little Gold Pestle , Unique , Wisdom Prevents Misfortune (p.200), Touch the Ground , The Window , The Grand Sea of Treasure , Enlightenment (2008)(p.202), Red Pine (2008)(p.198), Cloud Friendship (2009) and Ten Squares (2010).

Of course, while these seem to be series of similar works, there are in fact some quite subtle and deep variations, especially in those works that focus on the hand. From the original pump hand with small swollen parts, the 1991 work By the Wind started to show the hand as more slender and with holes in it. The slenderness of the hand gives the sculpture more varied contours. The original hand as a human organ is filled with linear expression, distinctive curves depicting an unusual appendage, expressing a different mood and inner world. The lengthening of the fingers exaggerates the richness and freedom of the hand’s contours, and the angle and flow of the curves express a sense of severity and urgency, which in fact are a result of Lee Kuang-Yu’s early studies in calligraphy. As for the appearance of the hole in the hand, it challenges the solidity and completeness of the original. A work of art that is too perfect and pleasant will likely restrict the viewer’s imagination, and even irritate or bore people; so a certain amount of destruction can create more space, both material and spiritual. The origin of this “hole” aesthetic could even be the Taihu stone used in the ancient gardens of china, but it is also inspired by the damaged lotus leaves of the artist’s childhood home. Moreover, in real life the artist faces damaged and broken things more often than perfection and completeness.

Nearly thirty years into Lee Kuang-Yu’s creative career, aside from these works on body parts, the human body, especially the female form, became a creative theme. One could even say that while the works on the themes of body parts represented the artist’s religious, idealist and enlightened side, those works on the female form showed a hidden side of him which was depressive, conflicted, vulgar and lustful. The 1987 work Embrace of the Lotus Root is the first example of this style.

Embrace of the Lotus Root is a rare example of Lee Kuang-Yu’s wood carving work, and the name recalls the lotus fields of his home in southern Taiwan, which still has an important place in his creative life. While this piece resembles a person, it also looks like the form of two people embracing, their bodies and limbs taking on rounded shapes like the form of a lotus root. This makes the one seem like two, and two seem like one, and as well as the romantic external message of “I am part of you and you are part of me”, it also challenges the viewer visually to recognize the forms. The lovers’ limbs, especially the deliberately distorted 053

feet, add an element of tension to the piece, and surely the feelings of attraction between these members of the opposite sex represent the artist’s inability to free himself from life’s problems. The woman’s softness and meekness are the object of the artist’s affection, but he seems unable to cope with her jealousy and volatility. The artist loves women and he loves cats, he sculpts women as he sculpts cats, because apparently women are like cats. Before his 1988 piece Transformation , which features the form of a woman curled up like a cat, he made a series of works featuring cats, such as Cuddle , Listening Spirit , Curve and

Feeling , all in 1988. In Transformation , the twist of woman’s body is actually impossible for a real person to replicate. This kind of distortion of the external figure presents the struggle of the inner consciousness, and gives the piece its dark tension. Are the head and torso in Transformation male or female? There is also a connotation of exploring the boundaries between man and woman.

The 1990 work Steep was evidently a complete female figure at first, but now the item has no head, hands or feet, and looks to be made of a student’s discarded piece of plaster. Through this piece, Lee Kuang-Yu instructs the student how to find the possibilities within a work of art. Just like when he sculpted a shepherd boy while was studying in Spain: professor Toledo walked in and simply twisted the piece a little, breaking a bit off, instantly turning it into an exciting sculpture. Finding new possibilities from destruction in this way is another of Lee Kuang-Yu’s frequently used techniques, especially when the subject matter is the human body.

The 1995 works Mountain Hike and Hiding the Treasure (p.086) both compress the body, again with parts removed, damaged and even rearranged. After Hiding the Treasure , he developed parts A and B of

Hidden , which revealed different angles and different visual imagery, and that sense of movement created by the figure standing on tiptoes, showing his early knowledge of ballet. Lee Kuang-Yu’s depictions of the female form always seem tense and restless, and there is no exception in the relatively realistic Relief and

Tension (1996-1999). This restlessness sometimes manifests itself in the mood of the piece, like in the 1996 piece Slide , a dismembered and rearranged female body lying on a high, padded bed, curled up just like a cat on a sofa, close to the edge, nearly falling off.

The artist clearly both loves and fears women, and is unable to escape this contradiction. He seems to sing their praises in Running Water (1997), Spring Point (1997), A Pupa in the Winter (2001)(p.090), A Pupa in the

Fall (2008), A Pupa in the Spring (2009). He also spies on them in Soft Jade (1998), Leaning on the Wall (1999), and guards against them in A Dangerous Woman (1999), and enjoys them in Rain (2006) and Buddha Box (2007). Of Lee Kuang-Yu’s work, this series on the female form is clearly the most personal and emotional.

2007’s By the Lotus Pond (p.094) combines the female form with a lotus, uniting the human body and plant.

Both are part of the landscape, but the lotus, broken into pieces, represents the woman’s unavoidable fate.

The woman is also a self projection of the artist, like the woman in Timeless , carefree and wrapped up in a lotus leaf. Under the pressure of a ruthless reality, the artist longs for a mountain forest world, self sufficient and not disturbed by the outside world, just like when he used to hide in the air-raid shelter.

Woman finally became the savior of life and a kind spirit in religious female forms of Goddess of the Earthly

Creations (p.098) and Goddess of Music (p.100) in 2008. Goddess of the Earthly Creations features a mystical Buddhist deity, and a happy Buddha mother who appears as a pig. The Goddess of Music , on the other hand, is soaring freely through the air in kindhearted brilliance, singing praises to Buddha.

Among these enlightened female forms, the artist is not merely expressing a religious message, rather he is expressing a breakthrough in high level techniques. It’s as if the female body in Goddess of the Earthly

Creations turned into a new source of material after 2013. The dismembered and rearranged body in Goddess of Music gives the work a sense of toughness and tension, and it is clearly the peak of his body work.

After 2013 the artist’s frame of mind entered a new phase, looking indifferently at the profane, he became more interested in replacing abundant truth with lightheartedness, and supplanting realistic forms with 054

flat shapes. Drum Dancer (p.132), Woman (p.124), Dance (p.118) and Skein of Heaven (p.112) are all new attempts and successes, while Flying (p.146) and Taichi (p.142) still represent his worship and longing for love.

Lee Kuang-Yu is an extremely industrious artist, and apart from 1997 when he held the post of secretarygeneral of the National Sculpture Institute, he refuses almost all external invitations so that he can create.

At the peak of his creativity he made 20 items in a year, like in 1999, 2007, 2008 and 2013. Aside from several main creative veins, there are still many solemn or humorous works like Empty Mountain , which imitates the sitting Buddha, Prosperous (1997), The Smoker (1999) and Keeping Him Close By (2008).

In short, Lee Kuang-Yu’s sculptures, based on the western traditional statues, emphasize space, structure and flexibility, and give an eastern perspective. His work is like a diary brimming with his life’s secrets, but also presents predicaments and dreams commonly held by many people. It is an extremely contradictory and conflicting harmony and unity, both tranquil and restless, exciting and ordinary, instant and eternity…

Lee Kuang-Yu started out with Western techniques as a foundation, and created large quantities of work with a deep understanding of eastern spiritual thought, while not missing out on the liveliness of the modern form. In fact, modern Taiwanese sculpture started from Huang Tu-shui, and then experienced the impact of the post-modernist abstract style. Now through Lee's handmade expression it brings western sculpture into a spiritual space with mastery of rhythm and texture: the sculpture with symbolic significance, as beautiful as a lotus leaf swaying in the wind.

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開放的虛空 — 論李光裕雕塑的形式語言、藝術觀念與當代價值 文 / 楊心一 國際策展人、美國康乃爾大學藝術史博士

作為台灣藝術史上第二代雕塑家的代表人物，李光裕在台灣藝術界成名甚早，他的藝術成就早在 上世紀 90 年代已得到學術界的普遍認可，其作品在亞洲國際美術展、新加坡國際雕塑展等重要展 覽上頻頻亮相。但在一般人的認知中，對其藝術的理解限定在早期作品的刻板印象中。箇中原因， 一方面，由於李光裕的創作時間跨度很長，如果不以長時間段來審視他的作品，較容易忽視他的 作品逐步演進的過程；另一方面，李光裕的作品在台灣雕塑界被簡單的歸入「學院派」雕塑的經 典範疇，皆以單方面地強調他紮實過人的學院功底，從而簡化了李光裕作品其他面向的意涵。 在本文中，筆者試圖將李光裕的雕塑創作，從 1980 年至近期（2013 － 2016）的作品並置梳理， 突顯出他一直不斷在探索的最主要課題「空」。藉由分析「空」的四個發展階段，筆者發現「空」 在李光裕的作品中具有多種不同的意涵及作用，更重要的是，它逐漸演進構成他作品的主要核心： 從造型－形式美的層面，到雕塑的概念－空間層面，再到藝術意涵，即表達人的存在狀態層面。 李光裕的「空」不單單具有美學

哲學上的意義，也觸碰到了藝術的社會意義。筆者驚訝地發現，

這條「重新發現」李光裕的線索還未被廣泛討論。 在多次拜訪李光裕位於台灣汐止山中的雕塑花園和工作室之後，筆者更加肯定，經過長達半生的 積累和持之以恆的鑽研，藝術家將他的創作構思不斷的提煉和演變，其創作生命週期之長、創造 力之豐富、作品形態之多樣化十分難得。更難能可貴的是，李光裕的作品具有一脈相傳的體系， 立足於西方 20 世紀雕塑藝術的歷史連接中，在雕塑語言的基本層面求新求變，並嫁接東方思想 文化及美學觀，形成一種不同以往的獨特風格和境界，具有很高的辨識度。藉由本文，筆者希望 能客觀地揭示李光裕作品中的主要特徵和核心意涵，展現李光裕的藝術觀念及其藝術價值，亦為 當代雕塑的創作和研究提供借鑒。

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一、「空」的語言與寫實作品時期

李光裕於 1954 年出生在台灣高雄，1975 年自國立藝專（今國立台灣藝術大學）雕塑科畢業後 奔赴西班牙求學，先從聖費南度皇家藝術學院畢業，後在馬德里大學美術學院獲得碩士學位， 1983 年回到台灣任台北藝術大學美術系講師。 李光裕的求學時期，正是伴隨著台灣雕塑史經歷了一個從寫實再現，向抽象主義、表現主義等語 言及材質方面的探索轉變的過程，在藝術觀念上則經歷了從學院體系向現代主義及當代藝術轉變 的過程。台灣雕塑史上的第一代藝術家以黃土水等為代表，多赴日本留學，以寫實手法表現台灣 鄉土題材，創作出台灣雕塑史上一批經典作品；1950 年代，西方現代藝術思潮開始影響到台灣 雕塑的現代主義運動；1960 年代，台灣國立藝專成立雕塑科，藝術學院的教育體系成為培養未 來雕塑家，散播現代藝術觀念的主要來源。到 1980 年代，包括李光裕在內的這一代藝術家，相 繼學成歸國執教，成為台灣藝術學院教育的中堅力量，在西方接觸到各種門類的現代雕塑理念， 經由他們轉化為「台灣現代派」薪火相傳的火種。 其中，李光裕毫無疑問是傑出的標竿式人物。在西班牙時，李光裕的作品即以精湛的寫實技藝見 長，曾獲得西班牙文化部頒發全國五大藝術學院績優獎金，並參加西班牙秋季沙龍展，這從他的 浮雕作品〈夜〉（1980）(p.014) 中可管窺一二。但他並不滿足於局限在寫實方面的探討，而是 積極吸納西方現代派的精華。其中，筆者認為影響他後期個人風格發展主要是（一）立體主義； （二）表現主義；此外，李光裕對亨利．摩爾等人趨向簡約的抽象風格也有所研究。 首 先， 立 體 主 義 於 1908 年 出 現 在 法 國， 雖 然 開 始 於 繪 畫 領 域， 但 作 為 一 種 重 要 的 藝 術 思 維，對 20 世紀的雕塑及建築產生了廣泛的影響。立體派畫家以畢加索為代表，雕塑家有奧西 普． 扎 德 金（Ossip Zadkine）、 亨 利． 勞 倫 斯（Henri Laurens）、 阿 基 彭 科（Alexander Archipenko）等，畢加索的雕塑也帶有鮮明的立體派特徵。立體主義的主要宗旨，在於將物體 形象進行破壞和分解，然後再加以重新組合，以此產生不依賴肉眼的固定視點看待事物的效果， 突破透視法的限制，表達對象物更為完整的形象。筆者認為，立體主義在思維方法方面對李光裕 的影響深遠。李光裕曾回憶道： 「當我在西班牙學習時完成〈牧笛〉（1981），Francisco Toledo Sanchez 教授竟然將作品的 一部分折斷、扭彎，產生了不同的效果，對我的啟發極大：鋸掉折斷以後重新尋找新的可能；嚴 格、準確的形刪除之後，破壞、組裝再重建，使得系列的作品是延續性的發展」。 在這一段文字陳述中，「破壞」、「組裝」、「重建」等皆讓人想起立體主義的宣言。日後，在 李光裕的「筆記」中，他嘗試用自己的語言對他的創作領悟進行歸納，例如他將「拆解」總結為 「破壞成新局」，又將對拆解後的廢棄物和碎片進行帶有偶發性的「重組」，稱為「俯拾即得， 不假諸鄰」，並且談及這樣一則故事： 「有位朋友，她好心的幫我洗杯子，不慎摔破了，因為那杯子很貴，她很難過，我將破碎的杯子 拾起，放在書桌上欣賞。這些碎片，我重新將它們組構起來，變成一件有穿透性的杯子，活潑且 有特質。我有許多作品，都是做完整後，覺得沒有什麼生動感，就將之往地上摔或用鋸子鋸開成

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幾塊，然後再重組，它的造型生動超過我的想像，超出我的慣性思維」。 由此可見，帶有立體主義特徵的思維方法已經內化到李光裕的創作中，轉變為他自己的創作體系 的一部分。 另一方面，李光裕也受到二戰後再度興起的表現主義風格的吸引。如存在主義雕塑大師賈科梅蒂 （Alberto Giacometti）、西班牙雕塑家蘇比拉克（Josep Maria Subirachs）等，他們分別 在 1940 至 50 年代摒棄了超現實主義色彩或寧靜優美的「地中海風格」，改以拉長、扭動的軀 體表達戰後人的精神創傷。李光裕對表現性手法的嘗試，以一件早期作品〈刮痕〉（1981）( 圖 1) 為例。在這件作品中，羊的周身佈滿大小深淺不一的劃擦與切割的痕跡，它的溫順姿態與藝 術家在創作中留下的激烈的情感印記形成對比。筆者認為，李光裕認同並吸收了表現主義的精神 內涵，可以說，他的作品一直在探討某種形式或方法，將藝術家的生存感受，以及更深層對人的 存在本質層面的體驗，寄託於表現對象之上。 總而言之，在這一時期（1980 至 1990 年代），雖然李光裕的作品以寫實風格為主，但他不只 滿足於寫實領域，受到立體主義、表現主義及抽象風格等西方現代派的影響，形成了突破寫實領 域的內在動力。不可忽視的是，李光裕在寫實風格的實踐中，已經展開對「空」的概念和形式語 言的初步探索。一方面，李光裕擅長塑造一種富於東方韻味的審美意境。在東方美學中，所謂意 境，在於虛實、有無之間。而「韻」是一種含蓄的美，講求寓動於靜。例如〈臨風〉（1991）( 圖 2)、 〈山行〉（1995）、〈流水〉（1997），藉由造型上微妙的扭轉，使雕塑內部的張力達到一種 動靜之間的含蓄狀態。這些作品觸碰到了「空」的東方審美，但尚未在造型中找到一種「空」的 形體的存在方式。顯然，日後李光裕並不滿足於此種東方的空靜之美。 另一方面，李光裕多次嘗試將圓雕削減成扁形的「面」，並在其上用線條進行勾勒，例如〈抽煙 的人〉（1999）、〈梳辮女子〉（1999）這兩件作品，面部的凹凸被大幅削減，取而代之以近 似浮雕的陰線勾畫出五官。 1998 年的兩件作品〈扁形男子〉、〈扁形女子〉( 圖 3)，徑直以「扁 形」命名，標示出其對「平面」的研究意圖。扁形「平面」反映出藝術家受到早期西方現代藝術 影響，進一步對雕塑的概念，及雕塑在空間中的構成形式進行探索。 綜上所述，可見李光裕不同於一般意義上的「學院派」雕塑家，他的寫實風格奠定在對西方現代 派的吸收和轉化基礎上，結合了具有個人特色的藝術手法和美學主張。從現存這一時期的作品來 看，他的作品並沒有簡單地去模仿某一種風格流派，而是遵循著自己的藝術道路，在雕塑語言的 基本層面上，進行多面向探索並逐步發展，對比其他時期的作品，這個階段可視為他獨特的「空」 的語言演化的基礎及萌芽階段。

二 「空」語言的探索與形成

李光裕在 1990 年代末至近期的作品，是從中年到耳順的人生階段，這一階段他在台灣藝術大學 擔負起培育新一代雕塑家的任務，直至 2006 年退休，才得以全心專注藝術創作。對於李光裕而

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圖 fig.1

刮痕 Scratch 1981 銅 Bronze 45x44x68cm

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圖 fig.2

臨風

By the Wind

1991 銅 Bronze 34x33x92cm

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圖 fig.3

扁形女子 Flatten Woman 1998 銅 Bronze 30x12x42cm

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言，這一重要的人生階段構成了他的幾個主要作品時期，包括「手系列」、「空山系列」及其他 代表作。 李光裕這個時期的作品，展現了大量與東方文化相關的主題，特別是佛教或禪宗，以及道教。例 如「手系列」作品，〈拈花〉（1999）、〈五識〉（2007）等不僅在命名上與佛教思想相關， 而且在形式上借用了佛教的「手印」姿態。近期代表作品如〈千里眼〉（2016）(p.174)、〈順 風耳〉（2016）(p.176) 則引用了道教的神話形象。那麼，如何理解李光裕對東方文化的借鑒與 藝術轉化？李光裕自 1984 年左右開始接觸藏傳佛教，後來跟從一位在台灣的修行者學習。他認 為「佛教的學習，影響我看待事物的方式，跟藝術有異曲同工之妙，皆是有關於人類問題的探討， 其理相通。修法的過程，一方面解決自己面對人生的問題，一方面也提供藝術的啟發」。筆者認 為，我們不能簡單地將他的這類作品理解為單純借用佛教主題的形象或佛教造型的形式美，而是 從他修習藏傳佛教與禪宗思想，及至更廣泛的東方文化中，了解他如何深化對「空」的理解，以 及發現「空」的美學表達形式的可能。 「空」是佛教的基本教義，〈心經〉講「諸法空相，不生不滅，不垢不淨，不增不減」，通俗來解， 佛教認為萬物本質皆是「空」，但空不是沒有，而是無中生有的一個場所，在虛空中蘊含著無限， 洞見「空」可以了悟宇宙人生的真諦。從一個更廣闊的角度來看，「空」的概念已經融入東方文 化根底之中。例如，中國道家「有無相生」的觀念，認為萬物是有和無的統一，將虛空納入美學 命題。又如日本重要的審美範疇「侘寂」（wabi-sabi），源自小乘佛法的三法印（諸行無常、 諸法無我、涅槃寂靜），以禪宗的「本來無一物」的空無思想為內核。 筆者推測，李光裕對雕塑上「空」的形式的認知，可能更早於對「空」的概念的領悟，上文提到， 李光裕在西班牙時期已熟知亨利．摩爾的雕塑，正是以雕塑上的「孔洞」形式為特點。但是摩爾 等西方雕塑家所做的「孔洞」，當時並未直接啟發李光裕的任何作品，因此也沒有立即與他的藝 術產生明顯關聯。李光裕獨特的「空」的形式是從一條自身特殊的線索中發展而來的，其中，借 鑒東方文化及佛教造像起到了重要的作用。筆者認為，從早期的萌芽，到借鑒佛教，直到個人對 社會的反思，李光裕對「空」語言的探索經歷了四個階段，第一階段，「破壞成新局」；第二階段， 「佛教題材及造型上的鏤空」；第三階段，「從鏤空走向東方空境」；第四階段：「開放的虛空」； 最終發展出他最近作品所具有的個人強烈的藝術表達風格，及視覺呈現方式。

（一）

破壞成新局

探討「空」的語言形式的萌芽，需要再次回到李光裕的早期作品。上文提到，有些早期作品的表 面富於表現性肌理效果，如在〈藏寶〉（1995）(p.086) 中，作品局部的表面極不光滑，故意留 下藝術家捏塑、劃擦、刻畫的痕跡，且人物缺失了一半頭和腿，使作品在一種不完美中達到更加 完美。這種破壞有時體現為表面的裂痕，如〈手非手〉（1986）( 圖 4) 這件作品，並有進一步裂開、 殘缺，向孔洞發展的趨勢，如〈臨風〉（1991）在手掌右側出現了一處殘缺。這些作品體現出 李光裕對「破壞成新局」的初步實踐，具體來說，在破裂、殘缺的形式中達成了一種造型的圓滿，

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圖 fig.4

手非手 A Hand it Seems 1986 銅 Bronze 41x29x85cm

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其結果是預告了「鏤空」形式的出現，因此可視為「空」的語言的孕育階段。他的這種藝術手法， 帶有個人的審美特質和當代雕塑風格。

（二）佛教題材及造型上的鏤空

在這個階段，李光裕繼續他之前的試驗，與此同時佛教題材為他提供了創作素材，以及作為形式 研究的對象，如佛頭、手等。在李光裕的工作室中也收集了很多佛教造像。在他與佛教題材有關 的作品中，值得注意的是，創作於 1990 年的〈妙有〉( 圖 5)，這件作品形式很像佛教的石塔， 所不同的是本該供奉佛像的洞口被藝術家轉化成了佛像本身內部的「孔洞」，佛像因此而變為內 外通透的空間存在，這個「孔洞」無疑具有啟發意義，雖然〈妙有〉更近似佛像而非具有個人風 格的作品，但 10 年後李光裕再次提煉這一藝術構思，創作了〈妙有Ⅱ〉（2001）( 圖 6)，對作 品的形式語言及「孔洞」進行了更為藝術化的處理，「佛像」的肩膀變得更像一座山，而「孔洞」 的形狀更像山中的壁窟，這一次，「孔洞」顯然既有了「空」的形式，又有了「空」的概念意涵。 由這一作品，李光裕又延伸出〈空山〉（2006）、〈空山Ⅱ〉（2007），最後在〈空山Ⅲ〉（2008） ( 圖 7) 這件作品，「孔洞」已完全轉化為「鏤空」的形式語言。 從〈妙有〉到〈空山〉的演進過程為我們了解李光裕的創作發展提供了一條清晰的線索。筆者認 為，李光裕從佛教石塔、壁龕、洞窟的造型中得到啟發，由「破壞成新局」進一步發展了鏤空手 法，並試圖將東方文化中「空」的概念，融入他對「空」的體驗中。具體來說，他將「孔洞」這 一形式與雕塑的體量及空間結合，創造了一個「空」的空間，這一空間不是形式主義的，而是對 藝術家而言充滿了知覺上的意義。

（三）從鏤空走向東方空境

從 1999 年開始，李光裕似乎對「孔洞」產生了濃烈的興趣，多次在非佛教題材及造型嘗試「孔 洞」的效果，例如〈壺形雞〉（1999）將一隻公雞的雞冠和尾巴相連，形成一個大洞。 〈縮腹 女人〉（1999）(p.088) 則是他在人體上對「孔洞」的嘗試。這件作品造型非常簡約、精煉，藝 術家省略了胳膊和小腿，在上半身的正中心打開一個洞，面部以線條勾勒，是李光裕在風格轉折 期的一件代表作。進入 2000 年之後，李光裕的鏤空手法日益趨向成熟，例如〈白雲〉（2007） (p.102)、〈荷畔〉（2007）(p.094) 等作品皆以鏤空為突出特徵。再以〈璧〉（1998）( 圖 8) 為例，這件作品掌心的「孔洞」仍以壁龕的形式出現，壁龕中有兩尊佛像造型，與〈雲山行旅〉 （2013）(p.024) 這件延伸作品對比，後者「孔洞」已經完全打開形成「鏤空」，佛像消失，變 成片雲飄蕩在空中，意境更加深遠。不可忽視的是，〈雲山行旅〉的「鏤空」形式，有別於亨利． 摩爾式幾何形的「孔洞」。李光裕的「鏤空」更接近非幾何、不規則的有機形，這種帶有個人特 色的「空」的語言，所表達的意境與幾何式的「孔洞」大相徑庭，這意味著李光裕從一般性的「鏤 空」手法開始走向了更具特定意涵的「東方空境」的表達。

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圖 fig.5

妙有 I Transcendental Existence I 1990 銅 Bronze 10x5x19cm

（四）開放的虛空

李光裕的近期（2013-2016）作品呈現出新的結構主義傾向，在雕塑手法上，從使用石膏、黏土 塑型，變成用鐵片焊接、塑料片彎折、打孔等不拘一格的手法來實現；在形式特點上，產生了片 狀結構、團塊結構與鏤空的融合。上文已提到李光裕在早期對扁平面的試驗，創作於 2008 年的 〈亥母〉(p.098) 這件作品，展示出扁平片狀與鼓凸的團塊結構相結合的造型手法。近期的作品 不僅將片狀造型手法推向極致，而且融入成熟的鏤空手法，我們在一件作品中往往可以觀察到多 種藝術手法融為一體，例如〈鼓舞〉（2013）(p.132)、〈太極〉（2013）(p.142)、〈伏心〉（2014） (p.148) 等作品，形成李光裕個人強烈的藝術風格和視覺語言。如果說李光裕此前的作品主要以 寫實風格的形象為主，在這個階段，寫實的造型規則也被打破，融入更多抽象因素和現代文明的

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圖 fig.6

妙有 II Transcendental Existence II 2001 銅 Bronze 39x23x69cm

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特徵，例如〈空行〉（2014）(p.152) 這件作品使用的鐵絲、鐵片等工業元素。在最新作品〈鬥牛〉 系列（2016）(p.178-185, p.190) 中，李光裕似乎找到了一種在形式語言上幾近完善的實踐，憤 怒的「牛」幾乎僅存骨架，沒有任何多餘的體積，甚至在骨架上亦有鏤空，增強作品的穿透性。 筆者認為，在這個階段，李光裕已超越了單純的「鏤空」，而是在雕塑的本質層面，改變處理雕 塑空間的方式。 一般而言，雕塑本質上是一種用封閉的團塊結構佔據著空間的三維形式。但扁平的片狀結構與鏤 空結構都是對體積感的消解，這些結構不再是用厚重的體積佔據空間，而是藉由被打開或削減的 部分，「指出」（signify）空間的存在。例如在很多作品，如〈鼓舞〉（2013）、〈太極〉（2013）、 〈海浪〉（2013）(p.168) 中，人物形體的頭部只做了一半或壓縮為一個平面。如果一個團塊的 一半、一個面或者一條線就可以顯示空間存在，那麼為何要將其封閉呢？在這個階段，李光裕盡 可能地將本來封閉的空間打開，削減多餘的體積，並製造更多的「孔洞」。正如他所說，「讓作 品在空間中，完全的敞開，開展，存在」。藉由開放雕塑的內部空間，實際上李光裕塑造了更多 個「面」，更多的觀看視角，更多的空間轉換。觀眾對雕塑的體驗不再局限於外部表面，而是進 入了雕塑內部，他們的視線並非在作品輪廓上游移，而是不斷的穿梭和穿透。乃至在〈思維〉 （2014）(p.156) 等作品中，雕塑內部的「封閉」空間幾乎消失，達到極為空靈、寧靜的境界， 可以稱之為「開放的虛空」。

三「空」語言的觀念及當代價值

如上所述，「空」的語言貫穿了李光裕的作品，成為李光裕作品的標籤式特徵，藉由「空」的語 言可以進一步了解李光裕作品的藝術意涵。在此，筆者將李光裕的「空」和幾位西方雕塑家類似 觀念對比，來審視李光裕的「空」的語言的特殊意義。筆者認為李光裕觸碰到了西方現代雕塑的 一條核心脈絡，但是另闢蹊徑，找到了自己對「空」的闡釋，並在藝術語言和藝術觀念上有所突破。 回顧西方現代雕塑藝術史，可以追溯到 19 世紀末法國雕塑大師羅丹，到後來的超現實主義、 立 體 主 義 等 各 種 流 派。 20 世 紀 初 期， 有 些 藝 術 家 如 讓． 阿 爾 普（Jean Arp）、 阿 基 彭 科 （Archipenko) 等開始在作品上開孔、打洞。這一富有深意的藝術手法，大大推進了雕塑的發展， 打開了雕塑的可能性。這個手法的重要性體現在雕塑和空間的關係上。一般而言，雕塑是一個真 實存在於空間的三維物體，它創造了自己的空間，另一方面，它又被觀者存在的空間所包圍。雕 塑自己的空間和觀者的空間是並存且互不穿透的，當雕塑家把作品打開了「孔洞」時，他們就使 兩者的空間互通了，換言之，觀者存在的物理空間穿透了雕塑的物理空間。 亨利．摩爾是公認把「孔洞」觀念發展到極致的雕塑家。他在 60 多年的藝術家生涯中，持續探 索雕塑內外空間觀念。早在 1932 年，摩爾創作了第一件有「孔洞」的作品，把雕塑的背面和前 面聯繫起來。藉由對「孔洞」的運用，他還形成了對虛空的美學觀，他認為形體內部的虛空具有 獨立的意義，「一個孔洞所蘊含的意義不亞於一塊體積—有一種神秘的東西隱含在孔洞之中」。

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圖 fig.7

空山 III Empty Mountain III 2008 銅 Bronze 55x43x113.5cm

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圖 fig.8

璧 Jade 1998 銅 Bronze 40x12x113cm

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在西方神學體系中，「上帝是人的完整性的唯一保證」，反過來講，摩爾的帶有孔洞而不完整的 人像正反映出「上帝死了」之後人類的生存狀態。 存在主義雕塑大師賈科梅蒂雖然沒有運用「孔洞」，但雕塑和空間的關係也是他極為關心的課題， 賈科梅蒂藉由瘦小、細薄的造型，縮小雕塑所佔據的體積，使形體僅僅剩下骨架，他稱之為「修 剪掉空間的脂肪」，這種手法達到開放空間的效果，與打開「孔洞」類似。但區別在於雕塑自己 的空間縮小，與觀者所在的物理空間擴大形成對比，強化了賈科梅蒂作品傳達的孤獨與虛無感。 20 世紀 60 年代，以戴維．史密斯（David Smith）、理查德．塞拉（Richard Serra）等為代 表的極少主義藝術家延續了對虛空和實體之間關係的探討。例如，史密斯認為他的雕塑是連續的 空間組成部分，在這個空間中，虛空與實體應當同等對待。在極少主義作品中所指的「虛空」， 不再是孔洞，而是在展覽空間中，重複的作品單元之間的部分。隨著極少主義藝術家日益模糊了 雕塑與裝置藝術之間的界限，轉而強調作品與空間的場域關係，以及作品的觀念性，西方現代雕 塑由此發生了重要的轉向。 李光裕對「空」的探討，亦從雕塑概念和雕塑語言層面出發，在西方現代雕塑所關注的「空間關 係」這個核心問題上，結合東方文化對「空」的表達，摸索出異於西方雕塑的另一種「空」的形 式語言及美學境界，也就是筆者所論述的「開放的虛空」。對於李光裕而言，首先，「空」是一 種雕塑的手法，使雕塑存在的方式變得有意思，突破了雕塑是「封閉的團塊結構」的慣常概念。 其次，李光裕在雕塑上「打洞」的方式與上述西方雕塑家不一樣，他不只是一般的打洞或「鏤 空」，而是致力於在更大的程度上打開雕塑的內部，這種不斷向雕塑內部的挖掘發展到極致，其 結果是一個由碎片化組織起來的形象。第三，在這個碎片化的形像中，「空」不是沒有，也不是 「挖掉」，相反顯示了「空」的存在。這是因為，「空」總是在相對中辯證地存在的，它很難 被直接說明，只能間接的顯示。 「空」是正形相對的負形，實體相對的虛幻，有相對的無，存 在相對的缺席，物質相對的精神，他者相對的自我。李光裕的雕塑成功捕捉到了一種可以被人們 所感知的「空」的概念與形式，也揭示出世界是正反兩面相輔相成的辯證法則。第四，李光裕的 「空」創造了新的空間感。在李光裕的雕塑中，雕塑內部變成外部，外部變成內部，這使得觀眾 無法站在一個不變的外在視角，以主客體二元關係去看雕塑，而是視線隨著雕塑穿梭，二維與三 維、甚至第四維的時間，在其中轉換。觀眾所處的外部空間與雕塑的內部空間，兩者融為一體， 成為同一的存在。總之，這是一種物我兩忘、天人合一的「東方空境」。 綜上所述，在李光裕的雕塑中「開放的虛空」，既沒有神秘主義的象徵，也不同於存在主義的虛 無感，而是充滿東方哲學上的意義。在李光裕看來，「空」不僅具有藝術價值，也具有當代的社 會價值。他曾說道，「空間是形態之間的盈縮。空能相應在生命經驗的世界。空掉作品中描述太 多的部分，空掉生活中堆積的垃圾，像只剩下一隻火柴棒，它的空間變得無限寬廣，空的越多， 清明就越多」。這段話將雕塑藝術中的空間與人的生活空間及精神空間相比對，反映出李光裕對 當代社會的思考與批判。他認為，「當代藝術作品中，太多怪獸，這是這個世界的不安、不確定 與疏離感的產物，智者會觀察、理解並超越這時代流行意識的限制，回到初心」。而回到初心的 方法，則在於開放空間，「鬆開無遮的心境」。在當代社會，人的生存被太多的煩惱與慾望所包

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圍，而「空」在某種程度上可以成為消解生命不自然狀態的良藥。此處不妨引用李光裕的「筆記」 ： 「我們要自行拆除造成創作或生命上困難的障礙之物，自將之暴露，才可以進一步去追求真理」。 無論在生活中，還是在藝術創作中，李光裕都希望藉由他的雕塑作品拆除這些心靈與知覺上的障 礙物，以開放的姿態，回歸生命的本來面目。

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李光裕的動態素描 LEE Kuang-Yu's sketch of movement 1981

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The Open Void — On the Formal Language, Artistic Concept, and Contemporary Value of LEE Kuang-Yu's Sculpture Text / YANG Shin-Yi Curator; PhD in Art History, Cornell University.

Being a representative sculptor among the second-generation sculptors in Taiwanese art history, Lee Kuang-Yu achieved fame in the Taiwanese art circle at an early stage. His artistic achievement was widely recognized by the academic circle in the 1990s, and his works were frequently seen in major exhibitions, such as the Asian International Art Exhibition and Singapore International Sculpture Exhibition. However, the general public's understanding of his art has been stereotyped and limited to his early works. One of the reasons is due to Lee's long creative career. If one does not examine his work in a long period of time, it is easy to overlook the gradual evolution of his work. Moreover, Lee's work has been simplistically categorized by the Taiwanese art circle as classic sculpture of the "academic school," one-sidedly emphasizing his solid academic skills without looking into other facets of his work.

In this essay, to address the key subject of the "void," which Lee has persistently explored, I juxtapose and study his sculptural creations from 1980 to the recent time (2013 to 2016). Through analyzing Lee's four stages of developing the concept of the "void," I have discovered that the "void" conveys various meanings and functions differently in Lee's work. More importantly, it has gradually evolved into a core concept in his work and encompassed different levels, ranging from the level of plastic, formal beauty, to the level of sculptural, spatial concept, to its artistic implication, which denotes the level of human existence. His "void" not only conveys aesthetic and philosophical meanings, but also touches upon the social implications of art. To my surprise, this clue that leads to the "re-discovery" of Lee has not been widely discussed.

After several visits to Lee's sculpture garden and studio in the mountains of Xizhi in Taiwan, I have become more certain that, during half a lifetime of artistic creation and continuous efforts, Lee has never stopped refining and developing his artistic ideas. His long artistic career, rich creativity, and diversified work are tremendously rare. What is more precious is that his works all stem from the same system, which is founded on its historic connection to the twentieth-century Western sculptural art and seeks innovation and changes of the sculptural language. Moreover, it has incorporated the Oriental thinking and culture as well as its aesthetics, forming a highly recognizable, distinctive style and concept. In this essay, I hope to objectively reveal the major features and core meanings of Lee's work and demonstrate his artistic concept and value to provide an example for the creation and study of contemporary sculpture.

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1. The Language of the "Void" and the Realistic Period

Lee Kuang-Yu was born in Kaohsiung, Taiwan in 1954. After he graduated from the Sculpture Department of National Taiwan Academy of Arts (now National Taiwan University of Arts, NTUA), he continued his study in Spain. After graduating from Real Academia de Bellas Artes de San Fernando, Lee obtained his MFA degree from Universidad Complutense de Madrid. In 1983, he returned to Taiwan and began teaching as a lecturer at Taipei National University of the Arts (TNUA).

During Lee's school days, Taiwanese sculpture had undergone a transformative process of exploring sculptural language and material, and shifted from realistic representation to abstract expressionism. In terms of artistic concept, it had experienced the process of progressing from academic art to modernism.

The first generation of Taiwanese sculptors, like its representative, Huang Tu-Shui, mostly studied in Japan.

They adopted a realistic approach to portray the native subjects of Taiwan, and created the first group of classic works in the history of Taiwanese sculpture. In the 1950s, the Western waves of modernist art influenced the modernist movement of Taiwanese sculpture. In the 1960s, NTAA founded its Sculpture Department. The education provided by NTAA's College of Arts became the main force of nurturing future sculptors and spreading modern art concepts. In the 1980s, artists of Lee's generation, including Lee himself, had mostly finished their studies and returned to teach in Taiwan one after another, forming the backbone of the academic education in Taiwanese art colleges. These artists were exposed to all kinds of modern sculptural concepts, and converted their learning into the undying fire of the "Taiwanese modernist school."

Among these artists, Lee was definitely a benchmark figure of outstanding achievements. When he was still in Spain, Lee had been known for his excellent realistic skills, which won him a scholarship that Spain's Ministry of Culture awarded to five art colleges in the country. He had also participated in the Spain Fall

Salón . His talents could be detected in his relief work, Night (1980)(p.014). However, Lee was not content with realism; instead, he had actively absorbed the essence of Western modernism. Regarding this, in my opinion, there were two factors that influenced the later development of Lee's personal style. The first was Cubism, and the second Expressionism. Furthermore, Lee had also studied the simple, abstract style of Western sculptors, such as Henry Moore.

To begin with, Cubism appeared in France in 1908. Although it started with painting, this important artistic thinking had extensive influence on the twentieth-century sculpture and architecture. While Picasso represented Cubist painting, Ossip Zadkine, Henri Laurens, and Alexander Archipenko were representative Cubist sculptors. Even Picasso's sculpture carried overt Cubist characteristics. The principle of Cubism was to deconstruct and dissect the image of an object, and then reconstructed it to achieve the result of not relying on the fixed viewpoint of the physical eyes when looking at things. It shattered the limitation of the perspective and portrayed a more complete image of the subject. I think the thinking of Cubism has had profound influence on Lee. The artist once said, "When I was studying in Spain, I created a work, called Reed Pipe (1981). However, Professor Francisco Toledo Sanchez broke and bent part of the work, which produced a different effect. It was extremely inspiring for me to break and saw a part off to search for new possibilities. With the deletion, the rigid and precise form could be deconstructed, assembled, and reconstructed, which allowed a series of works to be developed in a continuous manner."

In this passage, the terms "deconstruct," "assemble," and "reconstruct" all reminded people of the Cubist manifesto. Later, in Lee's notes, he tried to use his own words to sum up his artistic realization. For example, he gave the process of "deconstruction" the name of "deconstruction as innovation," and described the spontaneous "reconstruction" of dissembled wastes and fragments in the following words, "inspiration could be found everywhere without searching outward." He also mentioned an anecdote.

"One of my friends kindly washed a cup for me but accidentally broke it. She was very upset because 075

the cup was quite expensive. I picked up the fragments and placed them on my desk to admire. Later, I combined these fragments into a cup that could be seen through; it was lively and special. Many of my works did not possess a sense of liveliness after I completed them. So, I smashed them on the ground or sawed them into pieces to reconstruct them. The liveliness of the reconstructed forms exceeded my imagination and surpassed my habitual thinking."

This showed that the mode of thinking imbued with Cubist characteristics has been incorporated into Lee's artistic creation and became part of his artistic system.

On the other hand, Lee was also attracted to the style of Expressionism, which regained popularity after WWII. Existential sculpture master, Alberto Giacometti, and Spanish sculptor, Josep Maria Subirachs, respectively abandoned Surrealism or the tranquil, elegant "Mediterranean style," and adopted the elongated, twisted human body to express people's traumatized psyche in the post-war era. One of Lee's early work, Scratch (1981)(fig.1), exemplified his attempt in adopting the Expressionistic approach. The sculpture of a goat bore scrape and scratch marks of different depth. Its docile posture contrasted to the intense, emotional traces left by the artist. In my opinion, Lee had identified with and absorbed the core spirit of Expressionism. In other words, his work had been exploring a certain form or method that allowed him to express his feelings of life as well as the profound experience of human existence through the subject he portrayed.

Generally speaking, during this period (from the 1980s to the 1990s), although Lee mainly created realistic works, he was not satisfied with realism and was influenced by Western modernism, such as Cubism, Expressionism, and the abstract style, which contributed to an inner force to break through the confinement of realism. In addition, one could not ignore the fact that, in his practice of realism, Lee had already begun exploring the concept of the "void" and its formal language. On the one hand, Lee was good at creating an aesthetic mood enriched with an Oriental charm. In the Oriental aesthetics, the artistic mood lies in between the real and the void as well as the concrete and the abstract; the "charm" is a subtle, reserved form of beauty that emphasizes on portraying movement through stillness. For instance, By the Wind (1991) (fig.2), In Mountain Hike (1995), and Running Water (1997) have adopted subtle twisting in form to reach an implicit balance of the sculpture's internal tension between movement and stillness. These works have obviously touched upon the Oriental aesthetics of the "void." However, in terms of form, they have not physically embodied the "void." Obviously, Lee did not stop at portraying such Oriental tranquil beauty.

On the other hand, Lee had repeatedly reduced sculptures in the round to a flat "surface," which was carved with lines to depict the subject matter. For example, in The Smoker (1999) and The Woman with Plait (1999), the concave and convex of the faces were largely reduced and replaced with relief-like, intaglio lines to delineate the facial features. Two sculptures created in 1998, Flatten Man and Flatten Woman (fig.3), were named after their flatness, signaling Lee's study of the flat surface. The flat surface showed that the artist was influenced by the early Western modern art, and had furthered his exploration of sculptural concepts as well as sculptural forms in space.

In summary, Lee was clearly different from other "academic" sculptors. His realistic style was established on his absorption and transformation of the Western modernism, which he combined with artistic techniques and aesthetic ideas that possessed personal characteristics. Judging from the existing works from this period, Lee did not simply imitate a certain style or school, but followed his own artistic path while conducting multi-faceted explorations of the sculptural language and gradually developing his own style.

Comparing to his works from other periods, this stage marked the beginning and served as a foundation for his unique language of the "void" that would gradually evolve.

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2. Exploration and Formation of the Language of the "Void"

Lee's works from the end of the 1990s to the recent years were created in a period that spanned the artist's middle age to the age of sixty. Throughout these years, he had shouldered the mission of teaching and mentoring a new generation of artists at NTUA. It was until his retirement in 2006 that he could ďŹ nally fully concentrate on artistic creation. For Lee, this important period of his life had contributed to his creation of several important series of works, including his Hand series, Mountain Emptiness series, and other series.

Lee's works from this period were largely related to the subject of the Oriental culture, especially Buddhism, Zen, and Taoism. In the Hand series, Holding Out a Flower (1999) and Fiver Perceptions (2007) not only had titles related to Buddhist thinking, but also adopted the gestures of Buddhist "mudras." His recent works, such as Clairvoyance (2016)(p.174) and Clairaudient (2016)(p.176), had borrowed Taoist mythological images. How could we understand Lee's referencing to and artistic transformation of the Oriental culture?

Since about the year of 1984, Lee had begun learning Tibetan Buddhism, and later, practicing with a practitioner in Taiwan. For Lee, "the learning of Buddhism has influenced how I look at things. Buddhism is similar to art. Both discuss the questions of human being and their principles are interchangeable. The process of practicing the Dharma offers solutions to the problems in life as well as brings artistic inspiration."

In my opinion, we could not simply view this group of works as a mere adoption of the Buddhist images or the formalistic beauty of Buddhist sculpture. Instead, we should look into how Lee has deepened his understanding of the "void" and discovered the possibility of expressing the aesthetics of the "void" from his practicing of Tibetan Buddhism and Zen as well as versing in the Oriental culture.

The "void" forms the fundamental doctrine of Buddhism. The Heart Sutra states that "all things are empty.

Nothing is born, nor die; nothing is pure, nor stained; nothing increases, nor decreases." To interpret it from a secular perspective, Buddhism considers the essence of all things to be constituted of the "void," which does not refer to nothingness but a "space" that gives birth to things. The "void" contains infinity, and comprehending it enables one to understand the truth of the universe as well as life. From a larger perspective, the concept of the "void" is completely integrated with the Oriental culture. For instance, Taoism has the notion that "being and non-being are complementary to each other," upholding the idea that all things come from the unification of the two extremes and conceptualizing the "void" from an aesthetic point of view. The crucial Japanese aesthetic notion, "wabi-sabi," originates from the three sings or proofs of a Hinayana sutra (non-permanence, non-self, and nirvana), and centers on the Zen thinking of emptiness, which states that "all is void."

My conjecture is that Lee's awareness of the form of the void in sculpture probably comes earlier than his realization of the concept of the void. I have mentioned earlier that when Lee was in Spain, he had already become familiar with Henry Moore's sculpture, which was known for the "hole." However, the "hole" created by the Western sculptors like Moore did not really inspire Lee to create any works. Therefore, they did not have immediate connection with his sculpture. Lee's unique form of the "void" was developed in a special way by himself, in which his employment of the Oriental culture and Buddhist sculpture had an important effect. I have noticed that Lee's exploration of the "void" underwent four stages from its germination, to his using of the Buddhist elements, to his personal reection on the society. The ďŹ rst stage is "destruction as innovation." The second stage is "the Buddhist subject and the openwork in sculpture." The third stage is "from the openwork to the silent void in the Oriental culture." Lastly, the fourth stage is "the open void," in which he eventually creates his powerfully individual artistic style and means of visual representation, which could be detected in all of his recent works.

077

(1) Destruction as Innovation

To discuss the beginning of Lee's language of the "void," we need to go back to his early works. It is mentioned that some of his early works have been given expressive texture. For example, parts of Hiding

the Treasure (1995)(p.086) had a rather coarse surface. The artist intentionally kept the marks of molding, scraping, and carving. Moreover, the figure lacked half of its head and legs, rendering the work more perfect in its imperfection. Sometimes, the destruction surfaces as crevices on the surface of the work.

For instance, A Hand it Seems (1986)(fig.4) carried cracks and imperfections that were suggestive of the appearance of holes. By the Wind (1991) had an opening on the right side of the palm. These works have embodied Lee's initial attempts in using "destruction as innovation." More specifically, he achieved a sense of perfection in form through the cracks and openings, which foreshadowed the appearance of the "openwork." Therefore, this stage could be said to pave the way for the language of the "void." This artistic technique was invested with personal aesthetic characteristics and established a style of contemporary sculpture.

(2) The Buddhist Subject and the Openwork in Sculpture

In this stage, Lee had continued his previous experiment while incorporating Buddhist subject into his artmaking and studying the form of Buddhist sculpture, such as Buddha heads and hands. Lee collected many Buddhist statutes in his studio. Among his works of the Buddhist subject, Transcendental Existence(fig.5) created in 1990 was noticeable. This work reminded us of a Buddhist stupa. The difference lay in the niche, which should have been used to place a Buddha statue. However, it was transformed into a "hole" on the Buddha statute itself. The Buddha statue was, therefore, turned into a sculpture that connected its internal and external spaces, for which the "hole" had a tremendous effect. Although Transcendental Existence was more of a Buddhist statue rather than a work of his personal style, Lee had refined this artistic design ten years later and created Transcendental Existence II (2001)(fig.6), in which he had a more artistic treatment regarding the work's form and the "hole." The shoulder of the "Buddha statue" became more like a mountain whereas the shape of the "hole" was more similar to a mountain cave. Obviously, the "hole" in this sculpture embodied the form of the "void" as well as delivered its conceptual meaning. From this work, Lee also went on to create Empty Mountain (2006) and Empty Mountain II (2007); and finally, in Empty Mountain III (2008) (fig.7), the "hole" has completely transformed into a formal language of the "openwork."

The evolution from Transcendental Existence to Empty Mountain provided us a distinct clue to understand the development of Lee's work. I believe that Lee has found inspiration in the forms of Buddhist stupas, niches, and caves, and developed the approach of "destruction as innovation" into his openwork technique, integrating the concept of the "void" in the Oriental culture with his understanding of the "void." To be more specific, he combined the form of the "hole" with the volume and space of sculpture, and created a space of the "void." This space was not formalistic but possessed perceptual significance for the artist.

(3) From the Openwork to the Silent Void in the Oriental Culture

Since 1999, Lee began to have a strong interest in the "hole," and repeatedly tried out the effect of holes in non-Buddhist subject and form. For example, in Teapot Rooster (1999), he connected a rooster's comb with its tail, visually forming a large hole. In Contracted Belly Woman (1999), he created a "hole" on the human body. The form of this work was simple and refined. He did not sculpt the arms and legs, but opened a hole at the center of the upper torso and delineated the face with lines. It was a representative piece from the period when Lee's style was changing. After 2000, Lee's openwork technique had become more mature.

078

Works like The Clouds (2007)(p.102) and By the Lotus Pond (2007)(p.094) had distinctive openwork features.

Another example would be Jade (1998)(fig.8). The hole at the center of the palm was still represented as a kind of a niche, in which there were two Buddha statues. Comparing Jade to another work derived from it,

Wandering in the Misty Mountains (2013)(p.024), the latter already had a fully open "hole," constituting the openwork while the Buddha statues were replaced by clouds, conveying a more profound artistic concept.

However, one should not ignore that the form of "openwork" in Wandering in the Misty Mountains differed from the geometric "hole" created by Henry Moore. Lee's "openwork" was of a more non-geometric, irregular, organic shape; a sculptural language of the "void" that seemed more characteristic of Lee. The artistic concept it conveyed was utterly different from Moore's geometric "hole." This meant that Lee had departed from the general "openwork" technique and moved towards depicting the "silent void of the Oriental culture," which carried more specific meanings.

(4) The Open Void

Lee's recent work (from 2013 to 2016) revealed a new structuralist tendency. In terms of techniques, he has changed from using plaster and clay for molding shapes to using a range of different techniques, such as welding metal sheets together, bending plastic sheets, puncturing holes, etc. In terms of form, he creates a combination of metal sheet structure, mass structure, and openwork. I have mentioned that Lee experimented on the flat surface in an earlier period. In 2008, he created the work, Goddess of the

Earthly Creations (p.098), which displayed a mixed form of flat sheet structure and bulky mass structure. His recent works have embodied the culmination of the sheet structure. Moreover, Lee has integrated mature openwork techniques into these works, allowing us to see a unification of various artistic techniques. Drum

Dancer (2013)(p.132), Taichi (2013)(p.142), and Subduing (2014)(p.148) demonstrated Lee's strong artistic style and visual language. If Lee's works before the current period have shown a more realistic style, it is clear that he has now broken the rules of realistic sculpture and added more abstract elements and features of modern civilization. For instance, he added industrial elements, such as iron wires and sheets, in Empty Procession (2014)(p.152). In his latest work, Bull Fight Series (2016)(p.178-185, p.190), Lee seems to have found an almost perfect way to articulate his formal language. The maddened "bull" appears to only have a structural frame without any excessive volume. There are even openwork details on the structural frame, enhancing the transparency of the work. In my opinion, Lee has already surpassed the simple "openwork" at this stage, and begins to deal with the issue of sculptural space on the level of sculpture's essence.

Essentially, sculpture refers to the three-dimensional form that uses an enclosed mass structure to inhabit a space. However, Lee's flat sheet structure and the openwork have dissolved the sense of volume. These structures no longer occupied the space with their weighty volume but signified the existence of space with parts that were opened up or removed. In many of the works, such as Drum Dancer (2013), Taichi (2013), and Wave (2013)(p.168), the heads of the human figures were only in half or compressed into a flat surface.

If half a block mass, a surface, or a line could reveal space, why would one enclose it? At this stage, Lee has opened up the previously enclosed space and removed excessive volume as much as possible to create more "holes." In his own words, this "allows the work to fully open up, extend, and exist in space."

Through opening up the internal space of his sculpture, Lee has practically created more "facets," more perspectives to look at his work, and more transformation of space. Audience's experience of a sculpture is not limited to the external surface anymore; instead, it enters the interior of the sculpture. Their eyes not only linger on the contour of the sculpture but also constantly traverse and penetrate the work. In works, such as Thinker (2014)(p.156), the enclosure of the sculpture's interior has almost gone, achieving an extremely ethereal, tranquil state; a state that we might call "the open void."

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3. The Concept and Contemporary Value of the Language of the "Void"

As mentioned earlier, the language of the "void" has substantiated Lee's work and become his unique characteristic. By understanding this language, one can comprehend the artistic meaning of his work.

I would like to compare Lee's "void" to the similar concept of a few Western sculptors, and examine the unique meaning of Lee's language of the "void." I believe that Lee has reached a core concept in Western modern sculpture, but digressed from it to find his own path, which ended with his unique interpretation of the "void" as well as his breakthrough in artistic language and concept.

Taking a retrospective look on Western history of modern sculpture, it could be traced back to the master of sculpture, Rodin, and various schools that came later, such as Surrealism and Cubism. At the beginning of the twentieth-century, sculptors like Jean Arp and Archipenko started to puncture holes on their works.

This significantly meaningful technique fueled the progress of sculpture and ushered in a new possibility of sculpture. The importance of this technique was manifested through the relationship between sculpture and space. Generally speaking, a sculpture is a three-dimensional entity that physically exists in space. It creates its own space while being surrounded by the space inhabited by its spectator. The space of the sculpture and the space of the spectator exist at the same time without penetrating each other. However, when the sculptors created "holes" on their works, the two spaces became connected. In other words, the physical space inhabited by the spectator penetrated the physical space of the sculpture.

Henry Moore has been considered the artist that perfected the concept of "holes." During his artist career of more than sixty years, he kept exploring the internal and external space of sculpture. As early as 1932, Moore had created the first sculpture with a "hole," which unified the front and back of the work. Through utilizing the "hole," he had also formed his aesthetic viewpoint on the void. He argued that the internal void of a form possessed independent meanings. "A hole can itself have as much shape-meaning as a solid mass. — There is something mysterious implied by a hole." In Western theology, it is said that God is the sole guarantor of integrity. On the contrary, Moore's incomplete human figure with a hole has reflected the human condition after the death of God. Existential sculpture master, Giacometti, did not use "holes." However, the relationship between sculpture and space had been a topic he cared about. With tiny, thin forms, Giacometti reduced the volume of sculpture to its mere structural frame. He called this approach "to trim the fat from space," which achieved the effect of opening up space, a result similar to opening "holes." The difference was that the space of the sculpture has shrunk, forming a contrast to the physical space of the spectator while reinforcing the sense of solitude and nihilistic mood in Giacometti's work.

In the 1960s, minimalist artists like David Smith and Richard Serra continued the investigation into the relationship between the void and the substance. For example, Smith considered his sculpture to be constituted of a series of spaces. In these spaces, the void and the substance should be treated equally.

The "void" referred in minimalistic works was no longer the "hole," but what lay in between the repetitive units in an exhibition space. As minimalist artists gradually blurred the boundary between sculpture and installation, and went on emphasizing the relationship of site between works and space and the concept of the works, a major shift began to take place in the course of Western modern sculpture Lee's exploration of the "void" has started from the concept and language of sculpture. On top of the core questions of "spatial relation" addressed by Western modern sculpture, Lee has added his delineation of the "void" in Oriental culture. He has discovered another type of formal language and aesthetic concept of the "void" that differ from Western sculpture. It is what I have termed "the open void." For Lee, firstly, the "void" is a sculptural technique that renders the existence of a sculpture more interesting. It also breaks the common conception of a sculpture being "an enclosed mass structure." Secondly, Lee adopts an approach to create the "hole" on his work that is different from the means adopted by the aforementioned Western 080

sculptors. He does not simply make a hole or use the technique of "openwork," but makes efforts to open up the interior of sculpture to a greater extent. The result of this persistent excavation of the sculptural interior is an image structured with fragments. Thirdly, in this fragmentized image, the "void" is not "carved out"; it exists. The fragmentized image contrarily reveals the existence of the "void." It is because the "void" can only be defined by its opposite in a dichotomous, dialectical relationship, it is difficult to describe it. It can only be revealed indirectly. The "void" is the negative form opposite of the positive form, the illusion opposite of the substance, emptiness opposite of existence, absence opposite of presence, spirit opposite of matter, the other opposite of the self. Lee's sculpture has successfully formulated a concept and form that allows people to perceive the "void." It also reveals the dialectic principle of the world, in which everything has two sides and they are complementary to each other. Lastly, Lee's "void" has created a fresh sense of space. In his sculpture, the inside of a sculpture is turned outside, and vice versa. It forbids the spectator to uphold a fixed, external perspective and assumes a dichotomous role of the subject to look at the sculpture as the object. On the contrary, the spectator's line of sight follows the sculpture, traversing the two-dimensional and the three-dimensional planes, as well as the fourth dimension of time. The external space inhabited by the spectator and the internal space of the sculpture unite as one in one singular existence. In short, this is the "silent void in the Oriental culture" that embodies the state of object-self unification.

In summary, in "the open void" of Lee's sculpture, there is no sign of mysticism. It is different from the nihilistic sentiments of existentialism. Contrarily, it conveys the implications of the Oriental philosophy. For Lee, the "void" not only possesses artistic value, it also has contemporary social value. He once said, "space is the expansion and contraction of form. The void can correspond to the world we experience. After removing excessive delineations in work as well as piles of garbage in life, what is left is something that resembles a matchstick. Its space becomes boundless. The bigger void one embraces, the more clear-headed one becomes." In this passage, Lee compares the space of sculpture to a person's living space and spiritual space, stating his contemplation on and critique of the contemporary society. Lee believes that "in contemporary art, there are too many monsters. They are the results of anxiety, uncertainty, and aloofness in this world. A wise person observes, comprehends, and transcends the limitation of the popular ideas in this era, and returns to his original intention." The way to return to one's original intention lies in the open space; "to release the state of mind that needs no veil." In contemporary society, the existence of human being is enveloped by excessive worries and desires. The "void," to a certain degree, can restore the unnatural state of life. Again, I would like to quote Lee's notes: "We need to remove obstacles that create difficulties in artistic creation or in life; to expose them so that we could further pursue truth." No matter in life or in artistic creation, Lee hopes to remove the obstacles to the mind and perception through his sculpture, and return to the original life in an open state.

081

There is only one thing in my life: the relationship between existence and art. — Artist LEE Kuang-Yu

我的人生只有一件事，就是生存與藝術的關係。 ─ 藝術家 李光裕

084

1990-2010 Classic and Exploration

085

早春 Early Spring 1996 銅 Bronze 88x75x130cm

086

087

藏寶 Hiding the Treasure 1995 銅 Bronze 38x42x55cm

088

089

Lee used a “scenic / window” kind of approach on the bodies of his sculptures to develop another open space. Through this, the sculptures became more than just closed physical figures.

Instead, they became aesthetic pieces based on the concept of space with interrelated,

李光裕在雕塑身體中以類似「造景 ／ 窗口」的方式開拓另一空間，此

時的雕塑已不

是一個封閉的物

質身體，而是一個透過空間的內 ̶ 外、虛 ̶ 實、物質 ̶ 非物質等交互 作用而生的美學團塊。

lifelike qualities: inner-outer, virtual-real, and substantive-intangible. ─ Art Critic WU Shu-An

縮腹女人 Contracted Belly Woman 1999 銅 Bronze 19x26.5x51cm

090

̶ 藝評家 吳樹安

091

冬蛹 The Pupa in Winter 2001 銅 Bronze 61x46x48cm

092

093

層層的山 Meditation among the Mountains 2006 銅 Bronze 125x95x215cm

094

095

荷畔 By the Lotus Pond 2007 銅 Bronze 94x64x176cm

096

097

098

099

100

亥母 Goddess of the Earthly Creations 2008 銅 Bronze 92x63x122cm

101

102

飛天 Goddness of Music 2008 銅 Bronze 133.5x121x186cm

103

104

白雲 The Clouds 2007 銅 Bronze 49.5x35x64.3cm

105

106

The Clouds (2007) and By the Lotus Pond (2007) had distinctive openwork features. Another example would be Jade (1998). The hole at the center of the palm was still represented as a kind of a niche, in which there were two Buddha statues. Comparing Jade to another work derived from it, Wandering in the Misty Mountains (2013), the latter already had a fully open "hole," constituting the openwork while the Buddha statues were replaced by clouds, conveying a more profound artistic concept….

Lee's "openwork" was of a more non-geometric, irregular, organic shape; a sculptural language of the "void" that seemed more characteristic of Lee. The artistic concept it conveyed was utterly different from Moore's geometric "hole."

This meant that Lee had departed from the

李光裕的〈白雲〉（2007）、〈荷

畔 〉（2007） 等 作 品 皆 以 鏤 空 為

突 出 特 徵， 再 以〈 璧 〉（1998） 為 例，

件 作 品 掌 心 的「 孔 洞 」

仍 以 壁 龕 的 形 式 出 現， 壁 龕 中 有

兩 尊 佛 像 造 型， 與〈 雲 山 行 旅 〉 （2013）

件 延 伸 作 品 對 比， 後

者「孔洞」已經完全打開形成「鏤

空 」， 佛 像 消 失， 變 成 片 雲 飄 蕩 在 空 中， 意 境 更 加 深 遠。... 李 光 裕的「鏤空」更接近非幾何、不規 則的有機形，

種帶有個人特色的

「空」的語言，所表達的意境與幾 何形式的「孔洞」大相徑庭，

意

味著李光裕從一般性的「鏤空」手 法開始走向了更具特定意涵的「東 方空境」的表達。

general "openwork" technique and moved towards depicting the "silent void of the Oriental culture," which carried more specific meanings.

— Curator YANG SHin-Yi

─ 國際策展人 楊心一

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2010-2016 Unrestrained and Sublimation

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春山 Spring Mountain 2013 銅 Bronze 60×40×53cm

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斜陽 Setting Sun 2013 銅、不鏽鋼 Bronze and stainless steel 87x40x59.5cm

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一線天 II Skein of Heaven II 2015 銅 Bronze 150x100x310cm

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117

清供 Offering 2013 銅 Bronze 65x39x156cm

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舞 Dance 2013 銅 Bronze 24x19x58cm

121

祿 Good Fortune 2013 銅 Bronze 30x24x40cm

123

鳴情 Calling Birds 2013 銅 Bronze 62x34x45cm

124

125

女子 Woman 2013 銅 Bronze 31x25.5x116.5cm

127

嬝吟 A Delicate Breath 2013 銅 Bronze 22x31x29cm

128

129

書伴 The Book Lover 2013 銅 Bronze 40x17x47cm

130

131

132

133

鼓舞 Drum Dancer 2013 銅 Bronze 60x47x143cm

134

135

136

在水一方 Across the Water 2013 銅 Bronze 44x34x86cm

137

捕影 Captured Motion 2013 銅 Bronze 25x29x39cm

138

139

忘醉 The Carefree Drunkard 2013 銅 Bronze 32x19x52.5cm

140

141

荷意 Lotus 2014 銅 Bronze 73x31x66.5cm

142

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太極 Taichi 2013 銅 Bronze 35x32x82cm

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145

146

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

創作，從微觀角度來看，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。

to the point there is practically no distinction between the two.

— Artist LEE Kuang-Yu

̶ 藝術家 李光裕

147

飛來 Flying 2013 銅 Bronze 55x22x80cm

149

150

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

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〉

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

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。

metaphor for self-transcendence, overcoming the limitations of the mind and subduing greed, hatred and ignorance.

伏心 Subduing 2014 銅 Bronze 147x125x237cm

151

李光裕作品「伏心」置放在美國紐約「可樂 娜公園 」最為著名的地標— 「地球儀」一 旁，營造出勢不可擋的磅礡氣勢。 Subduing by Lee Kuang-Yu next to the Unisphere, the most famous landmark in Corona Park, creating a power ful, majestic atmosphere.

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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 self-

〈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。

reflection, understanding and enlightenment, to finally achieve the transformation of the physical body into the body of truth.

李光裕「空行」一作，參加威尼斯「Open18 國際雕塑展」，於主展場 Hilton Molino Stucky 飯店展出。 Empty Procession by Lee Kuang-Yu at the main exhibition venue of Open 18 International Exhibition of Sculptures and Installations in Hilton Molino Stucky Venice .

空行 Empty Procession 2014 銅 Bronze 89x87x181cm

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李光裕 「空行」一作於美國紐約「皇后美術 館」前廣場展出 。 Lee Kuang-Yu's Empty Procession on the plaza of Queens Museum in New York, USA

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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.”

思惟 Thinker 2014 銅 Bronze 127x130x227cm

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〈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。

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「李光裕「思惟」一作 , 參加威尼斯「Open 18 國際 雕塑展」，於利多島展出。 Thinker by Lee Kuang-Yu at Open 18 International Exhibition of Sculptures and Installations on Lido Island in Venice.

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忘樂 Great Merriment 2015 銅 Bronze 169x123.5x237cm

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心子 My Beloved Child 2015 銅 Bronze 102x104x228cm

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大地 Earth 2014 銅 Bronze 108.5x55.5x64cm

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海浪 Wave 2014 銅 Bronze 56x40x68cm

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風影 Shadow of Wind 2016 銅 Bronze 55x60x100cm

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山人 Hermit 2016 銅 Bronze 68x48x147cm

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千里眼 Clair voyance 2016 銅 Bronze 64x45x112cm

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順風耳 Clairaudient 2016 銅 Bronze 55x56x121cm

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威德 Majesty 2016 銅 Bronze 210x145x10cm 本圖為石膏像。 The image shows the plaster mold of the sculpture.

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( 左 Left)

紅色情挑 Red Passion 2016 銅 Bronze 222x99x93cm ( 右 Right)

格蘭納達 Grenada 2016 銅 Bronze 157x32x26cm 本圖為石膏像。 The image shows the plaster mold of the sculpture.

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機智的鬥牛士 Tactful Matador 2016 銅 Bronze 245x122x129cm 本圖為石膏像。 The image shows the plaster mold of the sculpture.

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出水芙蓉 Water Nymph 2016 銅 Bronze 高 (H)250cm 本圖為石膏像。 The image shows the plaster mold of the sculpture.

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餘韻

Lingering Charm

2016 銅 Bronze 高 (H)304cm 本圖為石膏像。 The image shows the plaster mold of the sculpture.

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1996-2010 Evolution of Hand

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寶印 Precious Print 1996 銅 Bronze 46x56x123cm

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拈花Ⅱ Holding Out a Flower Ⅱ 2003 銅 Bronze 25x29x90cm

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二葉松 Red Pine 2008 銅 Bronze 58.5x62x166cm

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息印 Wisdom Prevents Misfortune 2007 銅 Bronze 51x36x105cm

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五明 Enlightenment 2008 銅 Bronze 40x30x64cm

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寶瓶 The Wealth Vase 2008 銅 Bronze 57x59.5x90cm

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秋藕

Autumn Lotus

2010 銅 Bronze 54.5x57.5x89cm

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The Sculptural World of LEE Kuang-Yu

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Making sculpture is my way of life. It is like finding a clever way to make use of the intrinsic quality of the present moment in a contradictory world, which will produce a profoundly enriched universe. 雕塑工作是我的生命方式，

在所有矛盾的世界中尋找當下的本質加以妙用， 它將產生一種深

的豐富世界。

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The gift from God—I discover “the fragments”. In my studio, there are piles of plaster and iron fragments, where I search for objects that inspire me.

We need to remove obstacles that create difficulties in artistic creation or in life; to expose them so that we could further pursue truth. 神的禮物─「碎片」 被我發現。

我的工作室堆滿了石膏碎片，也堆滿了廢鐵片， 我在那裡尋找靈物。

我們要自行拆除造成創作或生命上困難的障礙之物， 自將之暴露，我們才可以進一步去追求真理。

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In contemporary art, there are too many "monsters." They are the results of anxiety, uncertainty, and aloofness in this world. A wise person observes, comprehends, and transcends the limitation of the popular ideas in this era, and returns to his original intention.

My studio is like my ashram, where I have observed myself in my work.

My beauty and sorrow, my hopes and tears. 當代藝術作品中，太多「怪獸」， 是 不確定感與疏離感的產物， 智者會觀察、理解並超越 回到初心。

個世界的不安、

時代流行意識的限制，

我把工作室當做我的道場，

在工作裡，在作品裡看到自己。 我的美與悲哀，希望與哭泣。

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I have made a sculpture that depicts the embrace of two people, in which they enjoy the power of love. They indulge themselves in it and never look back.

We often say, "submerge deeply and achieve greatness in the Dharma."

Without really experience the profoundness, one could not understand the wonder of going deeply into the world; nor could one comprehend the vitality and law of life as well as the indescribable profoundness, expansiveness, and unfathomable liveliness of the universe. 我做了一件作品，兩人相擁抱，享受生命愛的力量， 即便

迷不悟，也不回頭。

我們常說「一法深入，一法成就」，

但是如果沒有真正「深入」的經驗， 就無法體驗深入世界的神奇，

無法體會生命的生機以及法界，

宇宙之不可言喻的深度、廣度與不可預測的活潑度。

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My interests have included sculpture, tea ceremony, and practicing Buddhism. Later, I added one more—landscaping.

Landscaping is a costly activity. It knows no limit and costs me almost everything. This idealistic tendency of mine has sealed my fate. My tendency in landscaping is similar to my tendency in art-making. 我的興趣不

在做雕塑、茶道、習法，後來又增加了一項：造園。

造園所費是無底洞，沒有停損點，花到了彈盡糧 種理想性的潔癖，也造成我的命運。

，

造園的習性，如同我做藝術的習性。

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Any appearance of any place in this world can have a leap through imagination and be extended into many appearances. When your experience is abundant, the transformation of these things can be amazing.

I observe the mountainous scenes, clouds, fogs, sun, rain, and growth of trees in the mountains every day. Their colors change all the time. The variation of our artistic creation is not able to catch up with the changes in nature. What we can do is "to have an encompassing observation of all existences, and fashion it into one appearance." 世間之角落一相，均可一躍，均可延伸許多相。 你的體驗很多時，

些事物之變化很神奇。

我每日在山裡，山景，雲霧，太陽，下雨，樹木成長， 顏色不時地變化，

我們創作的變化趕不上自然的變化，

我們能做的是「囊括萬殊，裁成一相」。

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Art seems a superfluous thing, but it has the power to comfort and inspire our minds. It heals the world that we have broken and reconstructs another world that calms and moves us. 藝術是一種多此一舉的形式，

但它卻有安慰人心的作用，有啟發的作用， 它把人類弄壞的世界，

重建出一個安定而動人的世界。

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My work substitutes iron plates with pens, inscribing forms in a blank space.

A certain and clear line can delineate and capture a life. 我的作品，以鐵片代替筆，在空白的空間中寫出形態。 一條很確定乾淨的線條， 可完結一生。

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李光裕雕塑花園一隅 The corner of Lee Kuang-Yuʼs sculpture garden 231

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Biography

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李光裕 LEE Kuang-Yu

1954 年生於台灣，70 年代中期在台灣完成學院雕塑訓練後，負笈西班牙聖費南度皇家藝術學院 及國立馬德里大學美術學院研習西方雕塑技法與理論，師承著名雕塑家托雷多。學成歸國後任教 於台北藝術大學、台灣藝術大學，直至 2006 年退休，創作至今。在台灣雕塑史的發展中，李光 裕的雕塑創作跨越文化、歷史的向度，是標示東方文化與西方現代主義交融的文化座標，集台灣 在地的文化底蘊與國際多元文化之大成，形塑出極富個人特色的雕塑美學風格。他的創作在雕塑 語言的基底層面，以「鏤空」等標誌性技法打開雕塑的封閉結構，形成獨特的「空」的形式、風 格與觀念，呈現出一種物我兩忘的「東方空境」，不僅具有美學價值，亦蘊含對當下生命狀態的 思考，具有當代的社會意義。曾受邀於紐約、威尼斯、西班牙、奧地利、日本、新加坡等全球多 地舉行展覽。台灣三大美術館包括台北市立美術館、國立台灣美術館及高雄市立美術館典藏其多 件作品。台大醫院捷運站、市民大道及高雄大學亦可見其多件大型公共藝術作品。

Lee Kuang-Yu was born in 1954 in Taiwan. In the early 1970, he entered the Department of Sculpture of the National Institute of the 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 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. Lee Kuang-Yu's creations crosses cultural and historical boundaries, representing a cultural marker in which traditional Buddhist and Daoist thought intertwines with modernism. His work cannot be assigned to any usual stylistic category.

Instead, his works create a unique language with his incomparable skill, style and materials which in turn embodies the complex nature of Taiwanese art while representing the essence of Taiwanese culture. On the level of sculptural language, his work opens up the enclosed structure of sculpture with his characteristic techniques. It creates the unique form, style, and concept of the "void," and demonstrates "the concept of silent void in the Oriental culture" that embodies the state of unifying the object and the self. It not only displays aesthetic values but also reveals the artist's contemplation on the state of life at that moment, conveying contemporary social implications. His work has previously been exhibited in New York, 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.

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1954

1974

1978

Lee Kuang-Yu was born in Neiwei, Kaohsiung,

Lee graduated from high school. His teacher, Huang

Lee began studying under Professor Francisco

Taiwan.

Kuang-Nan, suggested that he could study sculpture.

Toledo Sanchez at the Real Academia de Bellas Artes

(fig.2) Lee entered the Sculpture Department of

de San Fernando. He learned how to demonstrate

National Institute of the Art. His learning there

the characteristics of sculpture and entered the

was mainly of Western sculptural techniques, and

world of sculpture language. (fig.3) (fig.4)

李光裕出生於台灣高雄市內惟。

he learned about Western sculptors like Rodin

1964

and Michelangelo. At that time, a lecturer at the

李光裕進入西班牙聖費南度皇家藝

Sculpture Department, Jen Chao-Ming, had studied

術 學 院， 師 從 著 名 雕 塑 家 Francisco

in Spain. Influenced by Jen, Lee had the idea of

Toledo Sanchez 教 授， 學 習 到 如 何

studying in Spain for the first time.

展現雕塑的特質，進入雕塑語言的境 界。（圖 3）（圖 4）

李光裕高中畢業，黃光南老師建議去 學雕塑科（圖 2），考入國立台灣藝

Lee began learning ink painting and watercolor.

術專科學校（以下簡稱為國立台灣藝

His first teacher was Chen Chi-Hsien. In junior

專）雕塑科，以學習西方雕塑技法為

high school, he began learning the ink painting of

主，從畫冊了解羅丹、米開朗基羅等

Lingnan school with Hsu Shang-Wu. (fig.1)

西方雕塑家。當時雕塑系講師的任兆

1981

明是留學西班牙，受任的影響，李光 李光裕開始學習水墨、水彩，啟蒙老

裕萌生去西班牙的想法。

師是陳啟賢老師，國中跟許尚武學嶺

Lee participated in the Spain Fall Salón in Spain.

南畫派的水墨。（圖 1）

參加「西班牙秋季沙龍展」。

1977 Lee graduated from the Sculpture Department of National Institute of the Art. 國立台灣藝專雕塑科畢業。

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年表 A Chronological Table

1982

1986

Lee finished his study of sculpture at the Real

Inspired by his practicing of Tai Chi Chuan, he

Academia de Bellas Artes de San Fernando,

started creating the Hand series, transforming the

which was later combined with the Universidad

Oriental philosophy in Tai Chi Chuan into his own

Complutense de Madrid. Lee traveled in Europe,

artistic creation. He made the first sculpture of the

mainly visiting the UK and France. He stayed

series, titled A Hand it Seems.

in Paris for three months to visit museums like the Louvre and the Rodin Museum, and became

受打太極拳的身體體驗啟發，開始創

influenced by Western modernist sculpture. He

作「手系列」作品，將其中所蘊含東

participated in Spain Coin and Relief Design

方哲理轉化成自己藝術創作的養分。

Exhibition in the same year.

創作手系列第一件作品「手非手」。

圖 fig. 1 李光裕自小學習水彩、水墨畫 Lee Kuang-Yu had studied watercolor and ink painting since childhood.

從西班牙聖費南度皇家藝術學院雕塑 科畢業，聖費南度皇家藝術學院併入 馬德里大學。在歐洲遊歷，主要去英 國、法國，在巴黎待三個月，參觀博 物館，如羅浮宮、羅丹美術館，受到

1990

圖 fig.2 李光裕與恩師黃光男的合影 Lee Kuang-Yu and his mentor, Huang Kuang-Nan.

西方現代派雕塑的影響。參加「西班 牙錢幣、浮雕設計展」。

Amalgamating Western modernist sculpture and

1983

Oriental culture, Lee developed the artistic thinking of "Destruction as Innovation." He reworked a sculpture discarded by his student, and later created the sculpture, Steep.

Lee obtained a master's degree from the College

融合西方現代派雕塑和東方文化，發

of Arts, Universidad Complutense de Madrid. He

展「破壞成新局」的創作思維。將撿

returned to Taiwan and began teaching at the

到的學生丟棄作品再創作，後來完成

Department of Fine Arts, Taipei National University

的作品叫做 < 峭 >。

of the Arts (TNUA) until his retirement in 2006. He started to learn about Tibetan Buddhism. A friend

圖 fig.3 1979 年，李光裕於西班牙的泥塑教室 Lee Kuang-Yu in a clay sculpture classroom in Spain in 1979.

took him to a Buddhist assembly held for visiting Tibetan Rinpoches, and later, he studied under the Taiwanese practitioner, Amica. 獲得西班牙國立馬德里大學美術學院 碩士學位。回國任教於國立台北藝術 大 學 美 術 系， 至 2006 年 退 休。 開 始 接觸藏傳佛教。當時有位朋友帶去參 加西藏仁波切來台灣的法會，後來主 要學習對象是在台灣的修行者「阿彌 迦」上師。

圖 fig.4 西班牙留學期間與同學參觀當地展覽 Lee Kuang-Yu visited a local exhibition with his classmate when studying in Spain.

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1991

1998

2001

Lee's sculpture, Good Dreams (1985-1988) (fig.5),

Lee began the construction of his sculpture park

Lee completed the work for the Zhongshan District

was collected by the Taipei Fine Arts Museum,

and studio in the mountains of Xizhi, unifying

public art project by the Taipei Fine Arts Museum.

symbolizing that his academic position and artistic

sculpture and nature.

The museum also collected his sculpture, The Offer

achievement were recognized.

from the Spring II. (2001) 開始在台灣汐止山中籌建雕塑公園和

李 光 裕 雕 塑 作 品 < 好 夢 >（1985-

工作室，將雕塑與自然環境相融合。

完成台北市立美術館－中山區公共藝

1988） （圖 5）被台北市立美術館收藏，

術創作。台北市立美術館收藏雕塑作

標誌著李光裕的學術地位和藝術成就

品 < 供春 II>。(2001)

得到認可。

2000 1994

2006 Lee began teaching at the Department of Fine Arts, National Taiwan University of Arts (NTUA). When teaching at the College of Arts, he nurtured a new

Kaohsiung Museum of Fine Arts collected his sculptures, including Search (1989). (fig.6) 高雄市立美術館收藏李光裕的作品 < 探 >(1989)。（圖 6）

generation of Taiwanese artists, among whom are Yang Pei-Chen, Tan Sian-Wua, and Peng Kuan-Jun. 任教於國立台灣藝術大學美術系，李 光裕在藝術學院任教期間培育眾多新

Lee retired from the TNUA, allowing him to fully concentrate on his artistic creation. 國立台北藝術大學退休，得以全心投 入藝術創作。

生代台灣藝術家，其中比較知名的包 括楊北辰、談獻華、彭光均等人。

2009 1995 Kuandu Museum of Fine Arts held a retrospective of sculpture for Lee, titled Life, Illusion of Bodies.

National Taiwan Museum of Fine Arts collected Meditation II (1995). (fig.7) 1995 年，國立台灣美術館收藏李光裕 的作品 < 凝 II> (1995)。（圖 7）

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關渡美術館為李光裕舉辦「空身幻影」 雕塑回顧展。

2011

2015

The National Taiwan Museum of Fine Arts held a

Lee was invited to participate in Open 18.

retrospective of sculpture for Lee, titled Life, Illusion

International Exhibition of Sculptures and

of Bodies.

Installations in Venice, Italy, and The MomentThe Taiwanese Art Projects in New York, USA.

國立台灣美術館為李光裕舉辦「空身

He received highly critical acclaim in these

幻影」雕塑回顧展。

international exhibitions, which have enhanced his

圖 fig.5 好夢 Good Dreams 1985-1988 銅 Bronze

international reputation, showing that the vision of his art has become more international.

2013

2015 年，受邀參加在義大利威尼斯舉 辦的「開放 18. 國際雕塑裝置展」及 在美國紐約舉辦的「當下當代：台灣 藝術計劃」，在這些國際展覽上得到 高度的評價並提升國際知名度，標誌

Experiencing a surge of inspiration, Lee created his masterpiece, the Mountain ．Emptiness series. His

李光裕的藝術向更國際化的視野邁進。

圖 fig.6 探 Search 1989 銅 Bronze 76x61x55cm

artistic language of the "void" has become more mature, pushing his unique artistic concept, "the silent void of the Oriental culture," to a new height. 李光裕創作靈感迸發，代表作「空山」 系列，「空」的藝術語言日趨成熟， 將李光裕獨特的「東方空境」推向新 的高度。 圖 fig.7 凝 II Meditation II 1995 銅 Bronze 150x120x180cm

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LEE Kuang-Yu (1954-)

Curriculum Vitae 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

2014

Mountain．Emptiness , Chini Galley, Taipei, Taiwan.

2014 – 2015

A Symphonic Concoction: Sculpting Art in Taiwan in the 1980s , Juming Museum, 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-The Taiwanese Art Project, Tenri Cultural Institute, New York, USA 2016

Skein of Heaven - Solo Exhibition of LEE Kuang-Yu , Tainan, Taiwan

Collection

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1991

Taipei Fine Arts Museum

1994

Kaohsiung Museum of Fine Arts

1995

National Taiwan Museum of Fine Arts

李光裕 (1954 -)

簡歷 1954

出生於高雄市內惟

1975

國立台灣藝術專科學校雕塑科畢業

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

任教於國立台北藝術大學美術系

2000-2006

任教於國立台灣藝術大學美術系

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

台北，台灣

1995

奧地利格拉茲國際雕塑研營聯展

格拉茲，奧地利

1999

Volume & Form 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

台北，台灣

2011

「空身幻影」李光裕雕塑回顧展，國立台灣美術館

台中，台灣

2012

「入厝」，采泥藝術

台北，台灣

「心靈空間」，采泥藝術

台北，台灣

「二葉松」李光裕雕塑個展，采泥藝術

台北，台灣

2013

「128 藝國瘋」，采泥藝術

台北，台灣

「氣韻－在動靜之間」，采泥藝術

台北，台灣

2014

「空山」李光裕新作個展，采泥藝術

台北，台灣

2014 – 2015

「多聲交響 -1980 年代台灣雕塑探索」，朱銘美術館

台北，台灣

2015

「開放 18. 國際雕塑裝置展」

威尼斯，義大利

「頃刻：台灣當代藝術展」

紐約，美國

「一線天 : 李光裕個展」 ，耘非凡美術館

台南，台灣

2016 重要典藏 1991

台北市立美術館

1994

高雄市立美術館

1995

國立台灣美術館

241

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 Structure of Farglory, Taipei, Taiwan

2014

Utek International Constructers & Planners, Taipei, Taiwan Syuan Tai Development Group, Taipei, Taiwan

2016

242

Fuly Development Group, Tainan, Taiwan

公共藝術 1995

國立台灣美術館雕塑園區

1998

台北市捷運局台大醫院站月台公共藝術

2000

台北市市民大道公共藝術

2001

台北市立美術館－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 遠雄台北木柵日光大廈

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

243

244

藏寶 Hiding the Treasure

早春 Early Spring

寶印 Precious Print

縮腹女人 Contracted Belly Woman

1995

1996

1996

1999

銅 Bronze 38x42x55cm

銅 Bronze 88x75x130cm

銅 Bronze 46x56x123cm

銅 Bronze 19x26.5x51cm

P. 086

P. 084

P. 194

P. 088

冬蛹 The Pupa in Winter

拈花Ⅱ Holding Out a Flower Ⅱ

層層的山

荷畔 By the Lotus Pond

2001

2003

Meditation among the Mountains

2007

銅 Bronze 61x46x48cm

銅 Bronze 25x29x90cm

2006 銅 Bronze 125x95x215cm

銅 Bronze 94x64x176cm

P. 090

P. 196

P. 092

P. 094

白雲 The Clouds

息印 Wisdom Prevents Misfortune 亥母

2007

2007

Goddess of the Earthly Creations

2008

銅 Bronze 49.5x35x64.3cm

銅 Bronze 51x36x105cm

2008 銅 Bronze 92x63x122cm

銅 Bronze 133.5x121x186cm

P. 102

P. 200

P. 098

P. 100

飛天 Goddness of Music

索引 Index 二葉松 Red Pine

五明 Enlightenment

寶瓶 The Wealth Vase

秋藕 Autumn Lotus

2008

2008

2008

2010

銅 Bronze 58.5x62x166cm

銅 Bronze 40x30x64cm

銅 Bronze 57x59.5x90cm

銅 Bronze 54.5x57.5x89cm

P. 198

P. 202

P. 204

P. 206

春山 Spring Mountain

斜陽 Setting Sun

清供 Offering

舞 Dance

2013

2013

2013

2013

銅 Bronze 60x40x53cm

銅、不鏽鋼 Bronze and stainless steel 銅 Bronze 65x39x156cm

銅 Bronze 24x19x58cm

P. 108

87x40x59.5cm P. 110

P. 116

P. 118

祿 Good Fortune

鳴情 Calling Birds

女子 Woman

嬝吟 A Delicate Breath

2013

2013

2013

2013

銅 Bronze 30x24x40cm

銅 Bronze 62x34x45cm

銅 Bronze 31x25.5x116.5cm

銅 Bronze 22x31x29cm

P. 120

P. 122

P. 124

P. 127

245

246

書伴 The Book Lover

鼓舞 Drum Dancer

在水一方 Across the Water

捕影 Captured Motion

2013

2013

2013

2013

銅 Bronze 40x17x47cm

銅 Bronze 60x47x143cm

銅 Bronze 44x34x86cm

銅 Bronze 25x29x39cm

P. 128

P. 132

P. 134

P. 136

忘醉 The Carefree Drunkard

太極 Taichi

飛來 Flying

荷意 Lotus

2013

2013

2013

2014

銅 Bronze 32x19x52.5cm

銅 Bronze 35x32x82cm

銅 Bronze 55x22x80cm

銅 Bronze 73x31x66.5cm

P. 138

P. 142

P. 146

P. 140

伏心 Subduing

空行 Empty Procession

思惟 Thinker

大地 Earth

2014

2014

2014

2014

銅 Bronze 147x125x237cm

銅 Bronze 89x87x181cm

銅 Bronze 127x130x227cm

銅 Bronze 108.5x55.5x64cm

P. 148

P. 152

P. 156

P. 166

海浪 Wave

一線天 II Skein of Heaven II

忘樂 Great Merriment

心子 My Beloved Child

2014

2015

2015

2015

銅 Bronze 56x40x68cm

銅 Bronze 150x100x310cm

銅 Bronze 169x123.5x237cm

銅 Bronze 102x104x228cm

P. 168

P. 112

P. 162

P. 164

風影 Shadow of Wind

山人 Hermit

千里眼 Clairvoyance

順風耳 Clairaudient

2016

2016

2016

2016

銅 Bronze 55x60x100cm

銅 Bronze 68x48x147cm

銅 Bronze 64x45x112cm

銅 Bronze 55x56x121cm

P. 170

P. 172

P. 174

P. 176

威德 Majesty

紅色情挑 Red Passion

格蘭納達 Grenada

機智的鬥牛士 Tactful Matador

2016

2016

2016

2016

銅 Bronze 210x145x10cm

銅 Bronze 222x99x93cm

銅 Bronze 157x32x26cm

銅 Bronze 245x122x129cm

P. 178

P. 180

P. 181

P. 184

247

248

出水芙蓉 Water Nymph

餘韻 Lingering Charm

2016

2016

銅 Bronze 高 (H)250cm

銅 Bronze 高 (H)304cm

P. 188

P. 190

空境 — 走進李光裕的雕塑世界

The Realm of Void — The Sculptural World of LEE Kuang-Yu

發行人 顧問 總編輯 策劃編輯 執行編輯 編輯協力 設計 藝術行銷

林清汶 曾堯生 楊心一 鄭佩芳 元媛、杜綺文、何立心 曾金鈴 Fritz LEE 協同設計 李翌慈 李朝馨

發行 采泥國際文化事業有限公司 臺北市大直敬業一路 128 巷 48 號 1 樓 Tel 886-2-7729-5809 Fax 886-2-8502-5715 Web www.chinigallery.com Fb www.facebook.com/chinigallery 出版日期 2016 年 11 月 初版 國際標準書號 978-986-88449-8-8 定價 新台幣 2000 元 版權所有 翻印必究

Publisher

Vincent LIN

Consultant

Yao-Sheng TSENG

Chief Editor

Dr. Shinyi YANG

Planning Editor

Peggy CHENG

Executive Editor

Yuan YUAN, Audrey TU, Lihsin HO

Coeditor

Lilian TSENG

Designer

Fritz LEE

Marketing

Sabrina LEE

Codesigner Cherry LEE

Published by Chini Gallery 1F, No.48, Ln 128, Jingye 1st Rd., Zhongshan Dist., Taipei City 10462, Taiwan Tel

886-2-7729-5809

Fax

886-2-8502-5715

Web

www.chinigallery.com

Fb

www.facebook.com/chinigallery

Publishing Date

Nov., 2016 First Print

ISBN

978-986-88449-8-8

Price

TWD 2000

All rights reserved. 空境 : 走進李光裕的雕塑世界 / 楊心一 總編輯 .

— 初版 . — 新北市 : 采泥國際文化 , 2016.11 248 面 ; 22 x 28 公分 ISBN 978-986-88449-8-8( 精裝 ) 1. 雕塑 2. 作品集

930

105021074

249

250