城市中的藝術印記：抬頭看見台灣的靈魂
當我們走在台北街頭，或許不會留意腳邊的石塊，但一定會注意到那些在公園、廣場、或大樓前矗立的雕塑。許多時候，這些已經融入城市風景的傑作，正是來自黃土水、楊英風、朱銘這三位跨越世紀的大師之手。他們的作品風格截然不同，但共同形塑了我們城市的樣貌。
When we walk through the streets of Taipei, we might not pay attention to the stones beneath our feet, but we inevitably notice the sculptures standing in parks, plazas, or in front of buildings. Often, these masterpieces that have blended into the urban landscape are the work of three cross-generational masters: Huang Tu-shui, Yuyu Yang, and Ju Ming. Their styles differ greatly, yet they collectively shape the face of our cities.
你可能會想：為什麼這三代藝術家能共同被稱為台灣雕塑史上的「聖三位一體」？因為他們的故事，不僅是關於技術的傳承，更是關於如何體悟所處的時代精神，並將那份對台灣土地和人文的深厚關懷，以永恆的姿態烙印在城市的風景中。這是一場由寫實到抽象，由在地情懷到普世哲思的「人文轉向」。
You might wonder: Why are these three generations of artists collectively referred to as the "Holy Trinity" of Taiwanese sculpture history? Because their stories are not just about technical inheritance; they are about understanding the spirit of their time, distilling a personal style in dialogue with it, and imprinting their deep care for Taiwan's land and humanity onto the urban landscape for eternity. This is a "Humanistic Turn" that moves from realism to abstraction, and from local sentiment to universal philosophy.
第一代：黃土水——以寫實之手，刻畫殖民下的本土情懷
如果你想尋找台灣意識最早的實體印記，請從黃土水（1895-1930）的作品開始。他活躍於日治時期，是台灣美術走向現代化的先驅。當時，藝術家必須面對一種深刻的矛盾：學習西方的學院派寫實技法，卻要承載東方人被殖民的壓抑與對本土的熱愛。
If you seek the earliest physical imprint of Taiwanese consciousness, start with the works of Huang Tu-shui (1895-1930). Active during the Japanese colonial period, he was a pioneer of modern art in Taiwan. At the time, artists faced a profound dilemma: learning Western academic realist techniques while conveying the repressed feelings of an colonized Asian people and their love for their homeland.
黃土水的偉大就在於他找到了平衡。看看《水牛群像》，那群水牛的意象，多麼精準地象徵了台灣農民的堅韌與土地的生命力；再看那件經典的《甘露水》，以極度精準的西方形式，塑出一位充滿現代美感的女性。他的作品形式是普世的，但核心卻是堅定的東方人與土地關懷。黃土水用他那精準的寫實之手，為台灣意識在美術史上寫下了最初、最溫柔的實體註腳。
Huang Tu-shui's greatness lies in the balance he struck. Look at "Water Buffaloes" (水牛群像), where the image of the buffaloes precisely symbolizes the resilience of Taiwanese farmers and the vitality of the land. Then look at the classic "Sweet Dew" (甘露水), which uses highly precise Western forms to sculpt a woman full of modern beauty. His work's form is universal, but its core is firmly rooted in Oriental humanism and concern for the land. With his precise, realist hand, Huang Tu-shui inscribed the first, most tender physical annotation for Taiwanese consciousness in art history.
【哪裡可以看見黃土水？】由於年代久遠，黃土水多數作品收藏於公立博物館內，並不常在戶外展示。您可以在臺北市立美術館（TFAM）或國立臺灣美術館（NTMoFA）的常設展或特展中尋找他的原作，感受台灣近代雕塑的起點。
【Where Can You See Huang Tu-shui's Work?】Due to their age, most of Huang Tu-shui's works are kept in public museums and are not often displayed outdoors. You can seek out his originals in the permanent or special exhibitions at the Taipei Fine Arts Museum (TFAM) or the National Taiwan Museum of Fine Arts (NTMoFA) to experience the starting point of Taiwan's modern sculpture.
第二代：楊英風——冰冷鋼鐵裡，藏著天人合一的哲思
楊英風（1926-1997）的創作生涯，反映了戰後台灣從鄉土走向「速度」與「工業化」的進程。他從早期的鄉土寫實，大膽轉向抽象，晚期更是大量運用不鏽鋼、銅等冷調的現代媒材。你可能會問，冰冷的不鏽鋼，怎麼能有溫度？
The career of Yuyu Yang (1926-1997) reflects Taiwan's post-war trajectory from local sentiment towards "speed" and "industrialization." He boldly shifted from early local realism to abstraction, later heavily utilizing cool, modern materials like stainless steel and bronze. You might ask, how can cold stainless steel possess warmth?
這就是楊英風的獨特之處：他將儒釋道的東方哲學思維，融入了現代材質中。他追求「天人合一」的境界，透過極簡、流暢的線條，展現自然界中雲、水、山的氣韻與動態。像《鳳凰來儀》、《東西門》這些戶外大型雕塑，它們矗立在水泥森林中，卻以簡約的線條在城市中植入一種東方人文的溫潤與哲學性。楊英風的雕塑，是對人與自然疏離的反思，提醒著現代社會：在追求效率和速度的同時，不應忘記內在的平衡。
This is Yuyu Yang's unique contribution: he infused the Eastern philosophical thoughts of Confucianism, Buddhism, and Taoism into modern materials. He pursued the state of "Heaven and Humanity in Harmony" (天人合一). Through minimalist, fluid lines, he used cold stainless steel to depict the rhythm and motion of nature—clouds, water, and mountains. Large outdoor sculptures like "Phoenix in the Sky" (鳳凰來儀) and "East/West Gates" (東西門) stand in the concrete jungle, yet implant a sense of Eastern humanistic warmth and philosophy. Yang's sculpture is a reflection on the alienation between humans and nature, a reminder to modern society not to forget inner balance while pursuing efficiency and speed.
【哪裡可以看見楊英風？】楊英風的作品在公共空間的能見度極高。您可以在臺北車站、臺北世貿中心附近，或是國父紀念館等地標建築前，找到他標誌性的不鏽鋼抽象雕塑。
【Where Can You See Yuyu Yang's Work?】Yuyu Yang's works are highly visible in public spaces. You can find his signature stainless steel abstract sculptures near major landmarks like the Taipei Main Station, the Taipei World Trade Center, or the National Dr. Sun Yat-sen Memorial Hall.
第三代：朱銘——拙樸刀痕下，捕捉生命的太極氣韻
朱銘（1938-2023）是楊英風最知名的弟子，但他的成功，恰恰是「背叛」了老師的風格。朱銘沒有複製老師那種精煉、光滑、科技感的現代風格，反而回歸到木頭、石頭的拙樸質感，以粗獷、氣勢雄渾的刀痕作為作品的「呼吸」。
Ju Ming (1938-2023) was Yuyu Yang's most famous student, but his success precisely involved a "betrayal" of his teacher's style. Ju Ming did not replicate his teacher's refined, sleek, technological modern look; instead, he returned to the rough texture of wood and stone, using rugged, powerful chisel marks as the "breath" of his work.
如果你看到朱銘的《太極系列—單鞭下勢》，那巨大的量體與流動的姿態，傳達的是道家陰陽平衡的哲理，超越了形式的限制；而《人間系列》則刻畫了現代群眾的日常與都會人物的姿態。朱銘的偉大，在於他那種「減法」的雕刻技法，捕捉了動態與精神的瞬間，展現了人類面對生命時的內在力量與深沉幽默。他對「平凡人」的巨大關懷，讓最原始的材料展現出人類精神中最豐沛的氣韻。
If you see Ju Ming's "Taichi Series—Single Whip" (太極系列—單鞭下勢), the immense mass and fluid posture convey the Taoist philosophy of Yin and Yang balance, transcending formal limitations. His "Living World Series" (人間系列) portrays the daily routines and postures of modern city dwellers. Ju Ming's greatness lies in his "subtractive" carving technique, which captures the instant of movement and spirit, showcasing humanity's inherent strength and profound humor when facing life. His immense care for "ordinary people" allows the most primitive materials to reveal the richest essence of the human spirit.
【哪裡可以看見朱銘？】朱銘的作品在公共空間同樣常見，但最完整的體驗在於朱銘美術館（Juming Museum），那是一座將戶外景觀與藝術完美融合的大型公園式博物館，讓作品在自然中呼吸。此外，在國父紀念館的戶外廣場，也常能看到他的《太極系列》。
【Where Can You See Ju Ming's Work?】Ju Ming's work is also commonly seen in public spaces. You can find his signature stainless steel abstract sculptures near major landmarks like the Taipei Main Station, the Taipei World Trade Center, or the National Dr. Sun Yat-sen Memorial Hall.
藝術的傳承與異變：大師之所以成為大師
朱銘與楊英風的師徒關係，是藝術史上最引人思辨的對話。朱銘正是藉由「異變」開創了自己的語彙：他內化了老師楊英風傳授的抽象概念與現代媒材運用，但最終他必須勇敢地與老師的風格劃開界線。這種傳承模式證明了，真正的藝術交流是觀念的傳遞，而非技法的複製。
The master-student relationship between Ju Ming and Yuyu Yang is one of the most thought-provoking dialogues in art history. Ju Ming created his own vocabulary through this "variation": he internalized his teacher's abstract concepts and use of modern materials, but ultimately, he had to bravely draw a line from his teacher's style. This mode of succession proves that true artistic exchange is the transmission of ideas, not the replication of techniques.
黃土水、楊英風、朱銘這三位大師，最終將各自時代的美學觀念，透過材質、量體和空間感的差異，在城市公共空間中築起三種截然不同的風景線。它們不僅是裝飾，更是三代藝術家對台灣、對世界最誠懇的提問。
Huang Tu-shui, Yuyu Yang, and Ju Ming ultimately built three vastly different scenic lines in the urban public space, conveying the aesthetic concepts of their respective eras through variations in material, volume, and spatial sense. They are not merely decorations; they are the most sincere questions posed by three generations of artists to Taiwan and the world.
一代人的眼光，永恆的人文轉向
總結這三代人的成就，他們作品風格的巨大差異，是因為他們各自回應了所處時代的核心精神與美學觀念，完美體現了「一代人有一代人的眼光與境界」。然而，不論是黃土水的寫實、楊英風的簡約，還是朱銘的拙樸，其背後皆有一條「東方人文關懷」的主線貫穿始終。
Summarizing the achievements of these three generations, the vast differences in their styles are due to their unique responses to the core spirit and aesthetics of their respective times, perfectly embodying the idea that "each generation has its own vision and realm." However, whether it is Huang's realism, Yang's minimalism, or Ju's rugged simplicity, a continuous thread of "Eastern Humanistic Concern" runs through their work.
他們三位作品不僅是藝術傳承的典範，更作為時代的公共藝術標誌，共同描繪了台灣社會與文化思潮演變的縮影，完成了一場由在地情懷到普世關懷的雕塑「人文轉向」。
Their three bodies of work are not only paradigms of artistic inheritance but also serve as public art markers of their times, collectively illustrating the evolution of Taiwanese society and cultural thought, completing a sculptural "Humanistic Turn" from local sentiment to universal concern.
CORE 給朋友的深層視角 A Deeper Perspective for Friends
了解這三代大師的作品，不應只停留在藝術鑑賞。黃土水讓我們看見過去的土地情懷，楊英風提醒我們現代科技與自然的平衡，而朱銘則讓我們思考平凡人的內在力量。作為朋友，我建議您下次經過這些雕塑時，放慢腳步，感受它們在城市中創造的「慢節奏」。它們不僅是藝術品，更是台灣社會在不同時代留下的哲學思辨。正是這些作品，讓城市不再冰冷，充滿了世代交替的溫暖。
Understanding the works of these three masters shouldn't stop at mere artistic appreciation. Huang Tu-shui lets us see the land's deep affection for the past, Yuyu Yang reminds us of the balance between modern technology and nature, and Ju Ming makes us reflect on the inner strength of ordinary people. As a friend, I suggest that the next time you pass these sculptures, slow down and feel the "slow rhythm" they create in the city. They are not just artworks; they are philosophical reflections left by Taiwanese society in different eras. It is these very works that prevent the city from being cold, filling it instead with the warmth of generational change.