Capturing Dynamic Spirit: Paul Tien Shen's Gymnastic Figurative Sculptures (1988-1989)

• Main Authors: Yi-Chun Pool, 蒲宜君
• Other Authors: 王哲雄
• Format: Others
• Language: zh-TW
• Published: 2005
• Online Access: http://ndltd.ncl.edu.tw/handle/f55456

碩士 === 臺北市立師範學院 === 視覺藝術研究所 === 93 === Abstract This dissertation discusses the figure sculpture of the early Taiwanese sculptor Paul Tien Shen, and is the first dissertation that focuses specifically on Paul Tien Shen's works. It especially focuses on the 1988 "Gymnastic works", the art that was the turning point of his artistic career. By focusing on the dynamic movements of these specific sculptures and then comparing them to his earlier and later works, we can then better understand the thought process and evolution of Paul Tien Shen's works. This dissertation has two purposes: Thefirst purpose is to discuss the work of Paul Tien Shen and its merits. The second purpose is to preserve the historical memory of the artist. This dissertation is divided into four sections of artistic work. Each section will focus on three sculptures that define the period, except for the middle section on acrobatic works, which focuses on eight sculptures. Section one will focus on three sculptures "The Fisherman" (1941), "Wife" (1942), and "The Spring Maiden" (1958), which were created during his younger years, from his early study in Japan until his graduation from study. Section two focuses on the sculptures "Sunshine" (1981), "Dream" (1981), and "Swimming" (1981), works that start to display movement in his works and lead up to his "Gymnastic works". These sculptures have a sense of weightlessness and vitality as they start to take on a life of their own . What is also different is that these sculptures not only show his development as an artist in his change of style, but also show his departure from the previous generation's more traditional style, and more over his ascension to his own place among the peers of his own generation. The third and main section focuses on his "Gymnastic works", which are unique in two aspects. One aspect is these works were inspired by watching gymnastics perform as opposed to basing the work on a traditional unmoving model. The other aspect is that while these sculptures were created using traditional techniques, the result in a very modern work. What is curious is how such sculptures can at once both give off such traditional but yet such modern impressions. Speaking of the dynamism of these sculptures, it seems as if these bodies in space are perpetually moving. In addition, these movements do not necessarily symbolize anything specific and moreover transcend any simple meanings. These Paul Tien Shen's can also be seen to be similar to works of calligraphy in their speed and fluidity as well as their long-lasting meanings. This quality is not only unique as compared to Paul Tien Shen's previous works, but also is a quality that is rarely seen in any other works of his day. These "Gymnastic works" can also be compared to the sculptures of Edgar Degas in their movement and grace. Similar to Degas' sculptures, the sculptures are not grounded in the floor. The balance point is in the center of the body which allows for a circular motion that can be found not only in the sculpture as a whole, but also in many of the connecting joints of the bodily figure itself. The fourth section discusses Paul Tien Shen's lastest works (1991-1995) "Glance 1", "Glance 2", "Ling Jing Juan Memorial Statue"(his final work), and their later maturity in combining both movement and non-movement. These works have both the feeling of his earlier static sculptures and the feeling of his dynamic "Gymnastic works." Through the progression of Paul's sculptures, from static to dynamic to a combination of both, one can see the continuous searching and evolution of his works. Over the sixty plus years of artistic career, from beginning to end, one can compare the fruition of his works to the likes of a continuously blooming flower – one that is ever-changing and radiant in its beauty. Paul Tien Shen gave his life to sculpture, but sculpture gave itself back to Paul in a timeless legacy.