杨英风：呦呦鹿鸣，食野之苹
Yuyu Yang
杨英风，字呦呦，1926年出生于宜兰，1997年逝世于新竹。曾先后求学于日本东京美术学校（现为国立东京艺术大学）、北平辅仁大学美术系、台湾师范大学艺术系，并于60年代前往意大利国立罗马大学雕塑系及罗马造币学校进行艺术研究。除了曾于台北艺专（现为台湾艺术大学）、淡江、铭传等大专院校作育英才，并且出版20余册艺术作品文集、举办海内外数十次展览。一生创作千余件漫画、版画、雕刻、激光艺术、景观与建筑规划……等各类艺术作品，并获殊荣无数。
杨英风对大自然的喜爱，源自幼时生长于钟灵毓秀的宜兰，使他在泥塑及剪纸中蒙发了热爱艺术之芽。在东京美术学校建筑系的求学历程，以及意大利旅居三年的经验，反而使杨英风体认到东、西文化及美学的差异，舍西方科技及物质的过度使用与发展，而渐渐地领悟中国人追求人类(小宇宙) 与自然环境(大宇宙)交融、和谐共生的“天人合一”之哲理。他终其一生以魏晋时期自然、朴实、圆融、健康的生活美学为景观雕塑创作之核心精神，并创作此造型艺术来提升、改善我们的生活环境与质量。学贯中西的杨英风，坚实的写实功力，并非只是复制西方人体比例的素描; 他以西方艺术技能来观察、展现自己生活的东方世界。
杨英风晚期的“不锈钢系列”是其创作生涯中的成熟期，寓中国生态美学及佛家哲思于先进、现代的材质，以及简洁的抽象造型中。单纯、光洁如宋瓷的不锈钢镜面反射，将周遭环境与观者纳入作品中，或以圆弧、曲线的视点柔化环境的氛围，使作品本身圆融具足、与环境、观者相谐，以达“天人合一”之境。一如他的字“呦呦”，取《诗经》中“鹿觅得甘泉，以鹿鸣呼朋引伴，共享清流”为意，杨英风以奉献、赞颂的精神试图为这个时代塑造超越时空的文化永恒意象。
而杨英风先生的公共雕塑作品也以不锈钢创作为主，不锈钢媒材的冷静、澄清与实在呈现出一种静态的美感，而表面反射出周遭大千世界千变万化，又赋予动态意涵。此外，杨英风先生率先将激光艺术引入其雕塑创作中，对当代科技艺术及新媒体艺术的发展具有先导意义。
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不锈钢 Stainless Steel 52.5x89x89cm
1973
展出于亚洲艺术中心（北京）-“风林火山-源自东方的抽象”
Exhibited in Zeigeist: Abstract Art of Eastern Origin at Asia Art Center (Beijing)
杨英风1973年景观雕塑作品《东西门》，位于纽约华尔街东方航运大楼前。
Yuyu Yang's 1973 landscape sculpture East West Gate, located in front of the Orient Overseas Building of Wall Street, New York
《东西门》是以一个大正方形与两个长方形组成一面有曲折的墙，于正方形之中镂出一个洞，成为月门；取出的圆形，立在月门的对面，变成“屏风”——光滑明亮的屏风有若镜子，反应四周各样的景物。圆洞是虚空的，但是形成月门的实景；屏风是实体的，但所映照出来的景物却是虚空的——虚虚实实，饶富趣味，很现代，也很中国。一虚一实的月门与屏风，从各个不同的角度去观赏，会产生各式的变化，表达出中国人多变化的生活哲学。《东西门》包涵了方、圆——阴阳相对的哲学思想。方，象征着中国人方正的性格和顶天立地的正气；圆，意味着中国人自由、活泼的生活智慧，以及中国人追寻圆熟、完满的生活理想。方中有圆，圆不置于正中，而放在舒适的空间，表示中国人喜好自然；圆跑出来，则表示身心可以自由自在地往来于天地之间，翱翔于宇宙之中。
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杨英风 Yuyu Yang 鹰（一） The Eagle I
不锈钢 Stainless Steel 103x63x59cm
1993
展出于亚洲艺术中心（北京）-“风林火山-源自东方的抽象”
Exhibited in Zeigeist: Abstract Art of Eastern Origin at Asia Art Center (Beijing)
《鹰》的创作始于1992年，杨英风认为雕塑本身是一项增益减损调和性的工作，透过技巧与素材的使用调度，传达创作者的意念与智能，呈现“外师造化，中得心源”的高超境界。如是雕塑之真义亦融入于此鹰之创作，底下之圆球如土地般，在遨翔的飞鹰之下，更突显两者之间的光影互动，反映出鹰之雄心壮志与地之容纳百象的意义，同年参与“杨英风'92个展”于台北新光三越百货公司开幕邀请展。来年此作为安泰人寿所用，发展为奖座造型，亦有鹰扬于世之荣誉概观。
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杨英风 Yuyu Yang
龙啸太虚 Dragon Shrill in the Cosmic Void
不锈钢 Stainless Steel 57x36x51cm
1991
展出于亚洲艺术中心（北京）-“风林火山-源自东方的抽象”
Exhibited in Zeigeist: Abstract Art of Eastern Origin at Asia Art Center (Beijing)
杨英风与作品 《龙啸太虚 》 1992
Yuyu Yang with work Dragon Shrill in the Cosmic Void, 1992
图片来源：英风映像《杨英风全集》出版记实
Image from a nonfiction book about Yuyu Yang
《龙啸太虚》完成于1991年，属于“飞龙系列”不锈钢雕塑作品之一。以一扭曲的环状造型中间夹以圆形的表现手法，诠释出传统中国“龙”与“宇宙太虚”之思想。环状造型采用了数理逻辑中的“莫比斯环”，稳定而富变化，有如现代化信息的磁带造型。
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杨英风 Yuyu Yang
凤凰来仪 Advent of the Phoenix
不锈钢 Stainless Steel
180x220x140cm 1970
杨英风作品《凤凰来仪》于大阪万国博览会贝聿铭设计的中国馆前 1970
Advent of the Phoenix by Yuyu Yang, China Pavilion (Designed by Leoh Ming Pei) of Osaka International Expo, 1970
图片来源："英风映像《杨英风全集》出版记实"
Image from a nonfiction book about Yuyu Yang
《凤凰来仪》为杨英风应叶公超先生的委托为一九七〇年大阪万国博览会中华民国馆的景观美化而创制。高七公尺、宽九公尺、以钢铁为材料涂以五彩为底、大红为主色彩的凤凰，为求与时代性符合，在制作中照例使用了现代机械线条，但是在焊接时杨英风要工作人员所留下的痕迹不必平直光滑，要求其自然、自由，使得冷冰冰的几何图形变得柔和，增加了近代西洋雕塑中少有的人间性和温暖感。完成后的大红色凤凰不但把中国馆隔壁的韩国馆黑沉沉的气焰（韩国馆外有十三根硕大高耸的黑烟囱）压下去，而且还利用了黑色做衬底，更加可以表现出中国馆的雍容古雅富有深度的含蓄美，是件相当成功的作品。
*以上文字参考于“杨英风数位美术馆”
Reference：Yuyu Yang Digital Art Museum
“当我以龙凤为创作主题时，是褪去繁华，还其本源，没有外在的装饰，也没有利爪尖喙。龙的眼睛，我常诠释为太阳，像巨大的火炬般永恒照亮混沌不明的人世；凤凰的眼睛是月亮，柔美关爱的注视，像慈母抚育稚子的和煦。造型上我省却诸多牲禽的特征，用中国艺术中最强而有力的线条，抽象但深刻地表达龙凤的精神，简洁刚劲，变化万千，充满新生和希望。”
——杨英风
"When I focused on the subjects of dragons and phoenixes, I intended to show the most essential meanings beneath them without extra decorations, even without the sharp claw or beak. I considered the dragon’s eyes as the sun, which are like a torch lighting up the chaotic world; I considered the phoenix’s eyes as the moon, which are tender and thoughtful, like the eyes of a mother staring at her children. Instead of the animal features, I worked on these sculptures with strong line shapes of the Chinese art, expressing the spiritual meaning of the dragon and phoenix in an abstract but comprehensive way, which is simple, strong, diverse and full of rebirth and hope."
——Yuyu Yang
Yuyu Yang was born in I-lan, Taiwan in 1926 and passed away in Hsinchu in 1997. He studied at various institutions including the Tokyo Fine Arts School (now the Tokyo University of Arts, Japan), the Fine Art Department of Fu Jen Catholic University in Beijing, the Art Department of Taiwan Normal University and so on. In the 1960s, he went to the Sculpture Department of the Sapienza University of Rome and the Roman Mint School to conduct art researches. In addition to educating talents in National Taiwan Academy of Arts (now National Taiwan University of the Arts), Tamkang, Ming Chuan and other colleges and universities, he also published more than 20 volumes of artworks and held dozens of exhibitions domestically and internationally. Yang had created more than a thousand pieces of comics, prints, sculptures, laser arts, landscape and architectural planning, etc., and won numerous awards.
Yuyu Yang’s passion for nature was originated from I-lan, the graceful and elegant city where he grew up. He developed his interests in art through clay sculptures and papercuttings during his stay in I-lan. Through his experience of studying at the Architecture Department of Tokyo Fine Arts School and living in Italy for three years, Yuyu Yang realized the differences between Eastern and Western cultures as well as aesthetics, started to reject the overuse of the Western technology and material, and gradually comprehended the Chinese philosophy of pursing “integration of man and nature”: to mingle human beings (the microcosm) and the natural environment (the universe) and reach harmony.
Throughout his life, Yang employed the natural, simple, harmonious and healthy life aesthetics of the Wei and Jin Dynasties as the core spirit of landscape sculpture creation and created the plastic art to enhance and improve our living environment and quality. Yuyu Yang, who had thorough knowledge of both Western and traditional Chinese, has solid realism capability. His works are not just a sketch of the proportion of Western human body, instead, he used Western art skills to observe and show the Eastern world that he was in.
Yuyu Yang’s later “Stainless Steel Series” is a mature period in his career, he blends Chinese ecological aesthetics and Buddhist philosophy into advanced, modern materials, and simple abstract shapes. The simple, smooth and polished stainless-steel mirror reflections can include the surrounding environment and the audiences into the artwork or soften the environment with the arc and curve point of view. Hence, the work itself is harmonious with the environment and the audiences and achieved the ideal state of “integration of man and nature “. Just like his name “Yuyu” quoting the “Book of Odes” - “a deer finds a fountain and sings to attract friends, so they can share the clear stream together”, Yang formed an eternal culture image that transcends time and space of this era with his spirit of dedication and praise.
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“风林火山-源自东方的抽象”展览现场 亚洲艺术中心（北京）2019
View on Zeitgeist: Abstract of Eastern Origin at Asia Art Center (Beijing), 2019
杨英风作品 Works by Yuyu Yang
关于艺术家 About Artist
杨英风 Yuyu Yang（1926-1997）
重要个展：“杨英风＜太初＞回顾展”（交通大学，新竹，2000）、“雕塑东西的时空-杨英风 (1926-1997)”（香港科技大学图书馆画廊，香港，1998）、“杨英风大乘景观雕塑展”（雕刻之森美术馆，箱根，1997）、“杨英风个展”（柏克莱大学美术馆，加州，1995）、“杨英风个展”（雕塑大地美术馆，新泽西州，1995）、“杨英风雕塑版画展”（历史博物馆，台北，1960）
重要联展：“风林火山 - 源自东方的抽象”（亚洲艺术中心，北京，2019）、“NICAF 第四届国际现代美术展览会”（横滨，1995）、“亚洲国际雕塑展”（福山美术馆，广岛，1994）、“当代艺术尝试展”（故宫博物院，台北，1986）、“第二届现代国际雕塑展”（雕刻之森美术馆，箱根，1971）、“中国现代美展”（现代美术馆，罗马，1964）、“巴黎国际青年艺展”（巴黎，1959）、“圣保罗双年展”（圣保罗，1956）
重要收藏：国立罗马现代美术馆（意大利）、新加坡首邦大厦（新加坡）、中国大饭店（中国）、国家奥林匹克体育中心（中国）、历史博物馆（台北）
Selected Solo Exhibitions: “Yuyu Yang Retrospective Exhibition” (Chiao Tung University, Hsinchu, 2000）、”Sculpturing Time and Space - Yuyu Yang (1926-1997)” (Hong Kong University of Science and Technology Library, 1998), “Lifescape Sculpture of Yuyu Yang” (Hakone Open-Air Museum, Hakone, 1997), “Yuyu Yang Exhibition” (The UC Berkeley Museum of Art, Science & Culture, California, 1995), “Yuyu Yang Exhibition” (Johnson & Johnson Sculpture Grounds, New Jersey, 1995), “Print & Sculpture Exhibition by Yuyu Yang” (National History Museum, Taipei, 1960)
Selected Group Exhibitions: “Zeitgeist: Abstract Art of Eastern Origin” (Asia Art Center, Beijing, 2019), “The 4th NICAF” (Yokohama, 1995), “The Asia International Sculptures Exhibition” (Fukuyama Museum of Art, Hiroshima, 1994), “Experimental Contemporary Art Exhibition” (National Palace Museum, Taipei, 1986), “The 2nd Modern International Sculpture Museum” (Hakone Open-Air Museum, Hakone, 1971), “Contemporary Chinese Art Exhibition” (Modern Art Museum, Rome, 1964), “The 1st International Youth Arts Festival” (Paris, 1959), “Bienalde São Paulo” (Sao Paulo, 1956)
正在展出 Current Exhibition
即将展出 Upcoming Exhibition
亚洲艺术中心（北京） 《青烟-李真新作展》