Transforming the Ancient into the ModernTransforming the Ancient into the Modern-- A Review on HSU Tung Lung’s Modern Sculpture Art -- by Pedro Tseng(曾長生) HSU Tung Lung’s (許東榮)learning of the sculpture art can be inspiring in many ways to art workers. The years HSU spent as apprentice in private workshops served as basic yet demanding training. Once admitted to the National Taiwan Normal University , HSU had access to new concepts. The overseas 小額信貸tours he took allowed him give further thinking through comparisons of similarities and mergers between Chinese and Western sculptures. The path HSU has followed in the exploration of sculpture art is just the troubled growth of Taiwan ’s sculpture art in microfilm. Generally speaking, in the history of Taiwan ’s sculpture, the sculptors who were once apprentices are skillful, but lack of creativity. In contrast, school trained students may be well 代償trained with basic aesthetic thoughts, and they are less skillful. Only a few artists that are able to apply folkloric techniques in scholastic creativity have delivered renowned works. Two examples are ZHU Ming with his wood sculpture and HSU Tung Lung with his jade sculpture. As of HSU Tung Lung’s early stage of exploring sculpture, his thinking about jade sculpture Modernization shows a hint: “We are just too obsessed with jade artifacts of our 借款ancestors and that does hurt our belief in creating modern jade artifacts. It would be almost impossible for us to deliver as good jade works as our ancestors. Modern jade sculpture is different from the old ones and it is that difference that gives us new hopes and modernization is our infinite fortune.” HSU’s pursuit for modernization is vivid in two characteristics of his early works: the first, HSU displays a plurality of themes; inspirations 土地買賣originated from oracle-bone scriptures, abstract shapes born from Qin Dynasty’s bricks and Han Dynasty’s tiles as well as ancient tablet inscriptions till buffaloes and flora in the countryside or even personal portraits and fauna, all incorporate realism, abstraction, 3-dimension and flatness, showing no binding traditional jade artifacts. The second, HSU shows his Chinese yet Western techniques through round sculpture and embossing sculpture, of 機車借款which some are crystal-like and others graceful and delicate, still others rough, yet powerful. There are small works that reflect mightiness, all standing for his free techniques that result in what he is after. After his 1983 personal exhibition of modern jade sculpture, HSU kept on with his hardworking to give his jade sculpture a new look and that eventually made him pioneer of Taiwan ’s modern jade sculpture. In full control of the touch of 辦公室出租quality of jade sculpture, HSU uses the roughness of jade to contrast with the smooth yet mature splendor. This special technique of contrast is applied repeatedly in many of HSU’s landscaping sculptures and made massive jade sculptures turn mighty and splendid showing various views. HSU’s the Sun, the Moon and the Universe, the Moon Accompanied by Duo Stars are now new landmarks of environmental art. HSU’s later works are better examples as hybrid 西裝外套art works that bear both Oriental and Western artistic skills. In Drift, Waves, Curves, Bends, Origins, Tones, Vastness and Tides among other works, the breakthroughs HSU is after transform the rocks into visually changing spaces and traces of natural links that are soft and extensible, creating thus new horizons and arenas for sculpture art. The modern sculpture after the 20th Century follows two trends, the first is a depth though and comes 買房子along traditional images and the second is the pure formality value measured by functionality that replaces humanism. The first bears the humane care since Michelangelo while the latter turns out to be an arrangement of space aestheticism through extension of constructive ideas. Rodin represents the first and Brancusi the latter, Henry Moore has both. Moore ’s works are full of modern sense and has the artistic vigor of carving out from the rock as 租房子Michelangelo did. Influenced in his early years by the Medieval sculpture and Mexican art of pre-Columbian times, the mass forms embody 3-D modern sense. After the Surrealism  and the Geometric Abstraction, organic form is redeemed. The result, the unique style of emptiness out of the mass. HSU TungLung’s sculpture evolves between Brancusi and Henry Moore.

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