| Summary: | 碩士 === 華梵大學 === 工業設計學系碩士班 === 96 === ABSTRACT
The thesis is mainly on research of manifestation point and its influential factors and background of Tsai Ken’s sculpture creative works during 1985 – 2006, and combed out unique notions and epoch meaning of his works by means of interviewing and analyzing. In the present sculpture sphere of Taiwan, through catching on a creator who nourished from tradition, trying to find out self characteristics, and challenge his own abilities in the limited circumstances and conditions, the author has hopes of trying to present a reference for creation v.s. emulation as well as challenge v.s. pursuit, in order to share the experience with the artists and the learners of the sculpture sphere in the nation.
This thesis is focused on both the evolving background and the innovation of Tsai Ken’s sculpture works. Up until 2006, there are four stages in the transition of Tsai Ken’s creation history, which are “the initial stage of creation － forming stage”, “the transition of creation － reforming stage”, “the transition of creation － developing stage” and “the transition of creation － breaking-through stage”.
The research is comparatively based on the evolvement of Tsai’s creation rather than other ones looking for reference position of of Tsai’s works through sequence of western history of art. With reference to historical materials, the author probes into thinking and concept inside Tsai’s works, and analyzes and cites the variety of shaping elements used in Tsai-style creation language. In connection with some rather pectoral negative comments, the author clearly displayed what the properties under the appearance really are through contrasting and comparing the images. And then, through discriminating and categorizing the features of the displaying methods of the works’ space and styles, a preliminary framework had been developed for further reserch in the future.
Tsai’s sculpture has overthrown the tradition of shaping which used to be mainly on the display of sense of volume, and has been able to use the elements of found objects to make his works possess a specialty of ‘inducting the old into modern’ so as to show the essence of the Confucius culture, Taoism philosophy and scholastic thoughts leading himself a unique individual style in the diversified individual expression with distinct sense of ages. Upon the time of generation superseding, it should have its own historical position as well as delights and touches from livelihood.
Keywords：Tsai Ken, Sculpture, Found Object
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