GETTING TO KNOW YUYU YANG 認識楊英風

CONTENTS

	BACK TOWARD THE SEA— an overnight stay at Henan Temple 背向大海——夜宿和南寺 By Lo Fu 洛夫 Translated by John J. S. BALCOM 陶忘機

	THINKING OF YOU IN RAINY DAYS 憶你在雨季 By Hsiung Hung 敻虹 Translated by Lisa Lai-ming WONG 黃麗明

	ENEMY 仇家 By Dominic Cheung 張錯 Translated by John J. S. BALCOM 陶忘機

	FACES 面容 By Shoo Tao秀陶 Translated by Steve BRADBURY 柏艾格

	HOME 家 By FONG Ming 方明 Translated by John J. S. BALCOM 陶忘機

	TIME WITHOUT LETTERS 歲月無信 By FONG Ming 方明 Translated by John J. S. BALCOM 陶忘機

	THE KILLER 殺人者 By Hwa Yen 華嚴 Translated by Faye PENG 彭斐

	THE CURSE OF LIPSTICK 口紅咒 By Chien Chen 簡媜 Translated by Yingtsih HWANG 黃瑛姿

	THE OLD ALLEY IN THOSE DAYS 當年舊巷 By Chien Chen 簡媜 Translated by Yingtsih HWANG 黃瑛姿

	THE FAT GIRL’S RED CLOGS 胖女孩的紅木屐 By KAN Yao-ming 甘耀明 Translated by Michelle M. WU 吳敏嘉

	ONCE UPON A TIME, WHEN THE PRINCE MET THE MERMAID PRINCESS... 從前從前，當王子遇上人魚公主⋯⋯ By YANG Mei-hung 楊美紅 Translated by Michelle M. WU 吳敏嘉

	7-11 By HSU Cheng-Ping 許正平 Translated by Mark I. HAMMONS 何邁

	GETTING TO KNOW YUYU YANG 認識楊英風 By Yuyu Yang Foundation 楊英風藝術教育基金會 Translated by Carlos G. TEE 鄭永康

	LIFESCAPE SCULPTURE: MODERN CHINESE ECOLOGICAL AESTHETICS 現代中國生態美學觀——景觀雕塑 By Yuyu YANG 楊英風 Translated by Carlos G. TEE 鄭永康

	LOCAL PASSION, AVANT-GARDE HEART: a few words written on the eve of Yuyu Yang’s exhibition 本土的情　前衛的心──寫在楊英風畫展之前 By HSIAH Lifa 謝里法 Translated by Carlos G. TEE 鄭永康

	NEWS & EVENTS 文化活動 Compiled by Sarah Jen-hui HSIANG 項人慧

	NOTES ON AUTHORS AND TRANSLATORS 作者與譯者簡介

	APPENDIX : CHINESE ORIGINALS 附錄：中文原著

	ADVENT OF THE PHOENIX (I) 鳳凰來儀(一), stainless steel, 104 × 140 × 50 cm, 1970.....COVER

	DRAGON SHRILL IN THE COSMIC VOID 龍嘯太虛(II)(A), stainless steel, 68 × 69 × 30 cm, 1991.........................................................BACK COVER By Yuyu YANG 楊英風

Yuyu Yang Foundation 楊英風藝術教育基金會

GETTING TO KNOW YUYU YANG
認識楊英風*

Translated by Carlos G. TEE 鄭永康

Yuyu Yang, also called Yang Ying-feng, was born in Ilan County, Taiwan, on December 4, 1926. He died in Hsinchu in 1997. Yang received his education from the Tokyo Academy of Fine Arts (now National Tokyo University of Art), Fu Jen Catholic University in Peiping (Beijing today) and the National Taiwan Normal University Fine Arts Department. In the 1960s, he conducted research studies in sculpture at the University of Rome and the National Institute of Design and Mint in the Eternal City. Yang lectured at the National Academy of Arts, Tamkang University and Minchuan College and published more than 20 titles on art. He also held dozens of exhibitions abroad. His lifetime career in the arts produced more than a thousand works, ranging from prints, sculpture, and laser art, to landscaping and architectural designs, many of which were award winning.

Yuyu Yang’s love for nature dates back to his days as a boy in picturesque Ilan where he grew up amidst lush mountains and rivers. This explains his passion for clay sculpture and paper cutting. Upon his father’s encouragement, Yang entered the Tokyo Academy of Fine Arts, majoring in architecture. There, he received tutelage from Yoshida Isoya and Asakura Fumio. Yang didn’t just learn architecture and sculpture. He delved into the study of how building materials and environmental science relate with regional climate and people’s
		Yuyu Yang 楊英風, photographed by Kao Yuan高媛, courtesy of Yuyu Yang Foundation

living environments. Thisis the reason why he put strong emphasis on the environment and landscapes. He was also deeply influenced by Isoya’s great esteem for Chinese architectural styles prevalent from the Wei and Jin Dynasties to the Tang. After the war of resistance against the Japanese broke out, Yang returned to Peiping and enrolled at Fu Jen Catholic University. There, Yang basked in the cultural beauty of the ancient capital where he also studied the Chinese classics. He learned Taichi and visited the Yungang Buddhist grottoes, constantly eager to imbibe the essence of Chinese culture. Three years of Roman sojourn in the 1960s made Yuyu Yang understand the difference between East and West, between their cultures and aesthetics.


Sika Deer 梅花鹿, bronze, 134 × 73 × 73 cm, 1962


	Smile of the Child 復歸於孩, bronze, 56 × 25 × 35 cm, 1957

Yang dropped the Western values inherent in technologies and their over-emphasis on materials, gradually favoring the Chinese philosophy of “unity between man and heaven” with its emphasis on man’s harmony and co-existence with the natural world.
Upon returning to Taiwan where he worked in a marble factory, Yang realized how nature worked its wonders by carving out the Taroko Gorge. For him, stone sculptures also reflect Mother Nature: That the environment creates man, and that man too shapes his environment. In the 1970s, he started a series of innovative works called “Lifescape Sculpture.” The idea behind this series is that the word “life” is the external form of sculpture that must interact with the outside natural environment. In turn,....

*	Courtesy of Yuyu Yang Foundation楊英風藝術教育基金會