< Figure above: Activities in Asia University ─ Click to see related news; place on top to see static figure >
■
Interpretations of Campus Artworks
|
|
|
|
The Thinker
Bronze
In front of Asia Museum of Modern Art
Auguste Rodin
In his piece The Thinker, Rodin depicts a man sitting on a rock deep in thought as he gazes down upon humanity. Bent at the waist and wholly absorbed in contemplation, his left hand rests on his left knee while his right arm supports his chin. His brooding appearance of deep pondering symbolizes Rodin’s endless tangle of thoughts, ruminations, and reflections on human life. The sculpture seems to imply that thought is humanity’s only opportunity for redemption while suffering the difficulties and injustices of life.
The Thinker is a vital and powerful man with strong muscles and a robust form. Rodin shows, however, that the value of a person is not in his body but rather in his mind. It is only through enlightened thinking that we have civilization. The humanistic ideology portrayed by Rodin caused The Thinker to become the symbol of 20th century humanity. The sculpture has become a symbol of the depth of human thought that reminds us of the value of life, and can be seen in parks, campuses, library entrances, and plazas across Japan, the U.S., Europe, and even in Taiwan. Rodin wished for everyone to calm down and think, to devote time to deep and unhurried contemplation. The Thinker is not only a representation of Dante or Rodin but also of each of us.
|
|
|
.jpg)
|
Eternal Spring
Bronze
2nd Floor of Asia Museum of Modern Art
Auguste Rodin
In 1884, Rodin created a series of sculptures based on the theme of “eternity”. Eternal Spring shows a love-struck couple engaged in a passionate kiss. Both are locked in a tight embrace. The man is leaning down to kiss the woman, while the woman twists upward to greet his kiss with her whole body and soul. The man’s left arm is cast freely in the air like an outstretched wing, while his left leg is raised high in such a way as to appear in the midst of a romantic dance. He seems as though he is on the verge of rising into the air from his sheer delight. His right arm embraces the backward-arching woman whose left arm rests on his shoulder. Although in a semi-kneeling position, she appears held in the man’s embrace, lost in the ecstasy of love.
Rodin met 19-year-old Camille in 1883. Camille was Rodin’s student, model, and lover. Rodin was 43 years old at the time, and this passionate love affair clearly influenced his works. He wished to find an impelling beauty in the theme of eternal human love, and forever embody this beauty through sculpture. From its beginnings in Greece, the Western art of sculpture has evolved around romantic themes, praising the physical and spiritual heights humans can reach through passionate love. Rodin continued this tradition, showing us that for two people in love, life can be as perfect as an eternal spring.
|
|
|
|
The Kiss
Bronze
3rd Floor of Asia Museum of Modern Art
Auguste Rodin
Created in 1886, the famous sculpture “The Kiss” was inspired by Rodin’s passion for Camille. To enhance the integrated feel of the lovers, the artist gave their lower bodies the appearance of melting into the marble. Carved in a classic realist style, the detailed and elegantly postured forms produce a truly dynamic effect of light and shadow.
Rodin was a 20th century sculptor and is widely considered the progenitor of modern sculpture. Born in Paris, he preferred themes of emotion, movement, and human form in his sculptures. His sculptures in his later years were chiefly inspired by dance. From 1879 to 1882, he worked on a monumental sculptural group called The Gates of Hell, which was meant to be a portal for Paris' planned Museum of Decorative Arts. In The Gates of Hell, Rodin disregarded neat, orderly structures and expressed a type of romanticist-style disorder. Almost 200 figures originally designed for this composition became the basis for some of Rodin’s best-known independent works, such as The Thinker and The Kiss.
|
|
|
|
Awakening
Bronze
3rd Floor of Asia Museum of Modern Art
Auguste Rodin
Also known as "La Faunesse à Genoux", this sculpture, taken from The Gates of Hell (where it is located in the tympanum, to the right of The Thinker), exudes an exceptional grace. Eroticism and ingenuousness radiate from its gentle yet powerful contours.
In a kneeing pose with two hands above her shoulders and stirring up her wave-like hair, this work seems to depict a woman being making up and dressing, or having just awakened and being stretching herself. The curve from her back to the butt crack is round and smooth, and the entire work gives people a feel of nature and comfort.
The model for both the Awakening and Toilette of Venus may have been the dark-haired Italian Carmen Visconti of Fiesole, who had modeled for Rodin during a period of 13 years, including the early 1880's.
|
|
|
|
Torso of Adele
Bronze
2nd Floor of Asia Museum of Modern Art
Auguste Rodin
The Torso of Adele was probably created as early as autumn 1880, named after Rodin's favourite model Adèle Abruzzezzi. The plaster shows the upper body as an arc bent backwards, was used for the female character and included in the new composition. Because of its orgiastic connotations, the sculpture is often interpreted as one of Rodin's most appealing homage to female sexuality; it is also one of his rare works whose title remained connected to the person of a model.
The arched position of the torso and the absence of limbs highlight the voluptuousness of the form. The model, Adèle Abruzzesi, was one of Rodin’s favorites. This sensual torso can also be seen in Eternal Spring.
|
|
|
.jpg)
|
Venus au Violoncelle bois
Bronze
3rd Floor of Asia Museum of Modern Art
Arman (Armand Pirre Fernandez)
In the 1960s, Arman used cleaving and burning methods to deconstruct pianos and string instruments and then re-constitute them into sculptural works. This approach enabled him to express his unique viewpoint on music and artistic creation.
In 1961, Arman produced the Colere series, the media of which was musical instruments. During the filming of a television documentary produced by NBC, Arman smashed a double bass into pieces right in front of the camera and soon thereafter created the now-famous piece NBC Rage. For the Colere de Violoncelles, Arman deconstructed a bronze statute of Venus and then delicately combined the statute with a violin in an interlaced manner to produce a colorfully woven image. The goddess Venus appears to be playing a beautiful, intoxicating melody, and the floating notes are scattered to the air by the deconstructed violin. In Arman’s works, sculptures do not only communicate visual aesthetics but also include auditory effects.
|
|
|
.jpg)
|
L'elephant Aux Instruments
Bronze
3rd Floor of Asia Museum of Modern Art
Arman (Armand Pirre Fernandez)
In many ancient civilizations of the Eastern world, elephants have long represented the origins of life. In the ancient Indian religion, elephants have even a greater mystical meaning. As recorded in UN World Heritage sites, many ancient temples in Cambodia have elephant sculptures in relief. Elephants were the ancient “thrones” of Cambodians. In ancient China, elephants were considered to represent peace and prosperity. Elephants are included in the two rows of stone sculptures leading up to the entryway of the Ming Dynasty palace in Nanjing, China.
In the 1980s, Arman liked to deconstruct bronze statutes of Greek gods and combine them with disassembled musical instruments. Sometimes he would combine these remnants of bronze instruments with deconstructed statutes of animals to form another distinctive type of Arman sculpture. In L’elephant Aux Instruments, Arman again uses cleverly dissected and re-arranged elements to create a visual masterpiece that transforms the original properties of both elephants and musical instruments. The elephant in stride portrays an even more dynamic sense of motion after its deconstruction and re-arrangement, while the instrument introduces an artistic feel. L’elephant Aux Instruments is a perfect depiction of Arman’s unique style of contemporary art.
|
|
|
.jpg)
|
Victoire en Chantant
Bronze
Central yard of Administration Building
Arman (Armand Pirre Fernandez)
Victoire en Chantant was created by the French-American sculptor Arman shortly before his passing. With its elegant, flowing lines, the integration of the woman and the instrument tell of Arman’s lifetime passion, dedication, and achievement in the arts. Victoire en Chantant is a masterpiece into which he invested all of his effort during the last remaining years of his life.
Simultaneously dynamic and contemporary, Victoire en Chantant was based on La Victoire de Samothrace, one of the three treasures of the Louvre. The sculpture is rich in artistic value and historically significant. Arman divided the statute of the goddess and combined it with a cello, thus imbuing classic art with a modern flair. The wings of the goddess, with their finely crafted feathers, are unfurled as she prepares to take flight, and the folds in her robes billow behind her as if fluttering in the wind. The flowing lines express the triumph of victory and the speed of flight. The symbolic meaning of Victoire en Chantant encompass the past, present, and future, showing humanistic spirit and creative power.
|
|
|
|
Young 14 year-old Dancer
Bronze
(with 32 other works of a series of dances)
3rd Floor of Asia Museum of Modern Art
Edgar Degas
The model for this sculpture was a ballet student at the Paris Opéra, where Degas often drew and painted. Degas first made a reddish-brown wax sculpture of her in the nude. Then, aiming for a naturalistic effect, he dressed a three-quarter life-size wax sculpture of her in clothing made of real fabrics - cream-coloured silk for the bodice, tulle and gauze for the tutu, and fabric slippers. He also gave it real hair tied with a ribbon. When the wax sculpture was first exhibited, contemporaries were shocked by the unprecedented realism of the piece. But they were also moved by the work's representation of the pain and stress of ballet training endured by a barely adolescent girl.
After Degas' death, his heirs decided in the early 1920s to make bronze casts - nearly thirty of them - of the wax original. In these versions, all is bronze except for the dancer's gauze tutu and silk ribbon. Recent investigation into the casting of this piece has shown how the founders attempted to match the colours and aged appearance of the original wax sculpture, which, by this point, had spent forty years in the artist's studio. Pigmented waxes, ranging in colour from pale orange through pink and brown, were rubbed into the flesh areas. The bodice was painted a cream colour, but a pigmented wax was applied to darken the lower part. The skirt was dipped in a mixture of animal glue and pigment in order to created an aged effect.
|
|
|
|
Nana on a Dolphin
Polyester, steel armature, stained and mirrored glass
Left front of Asia Museum of Modern Art
Niki de Saint Phalle
"Nana on a Dolphin" is one of the series works of "Nana" by Niki de Saint Phalle who is famous for art creation by the uses of round bodies and brilliant colors, worshiping women as mothers of lands and sources of life and energy. The series works are the results of experience of torments and struggles, as well as her growing up by many self-healing and self-surpassing moments, in her life.
The work "Nana on a Dolphin" gives the message of harmonious communication of nature and females, and warmhearted welcome of every visitor to the Asia Museum of Modern Art.
|
|
|
|
Expansion of a Landscape
Left front of Asia Museum of Modern Art
Mario Lopes
This works somehow is related with the Japanese Stone Gardens. The idea of representation of a landscape and space in a small area was the base of this work. This might be a representation of a future landscape that develops in different directions.
Limestone |
|
|
|
Genesis II
White marble
Right front of Asia Museum of Modern Art
Kamen Tanev
"GENESIS II" represents the intensive process of formation, as an effort of the natural forces to create an order in the chaos. The sculpture consists of several deformed spheres inserted in a membrane. Leaving traces on its surface, they remind of the construction, existing in a shapeless at first sight form. The creation in its initial (embryonic) stage of evolution is represented this way. The sculpture will be build by three separate parts, which together construct a spiral.
|
|
|
.jpg)
|
Advent of the Phoenix (1)
Stainless steel
Right front of Asia Museum of Modern Art
Yuyu Yang
The Phoenix is a symbol of Chinese people's wish to reach a superb ideal world. In Chinese's thinking, the phoenix is an expression of ultimate peace. It is said in the legend that the phoenix only appears when the era is harmonic, and only at that time can people see this kind of lucky bird. It seems that every virtue comes with the flying wing of the phoenix.
The work "Advent of the Phoenix" is a piece which Prof. Yuyu Yang created for the Taiwan Pavilion in the 1970 Osaka World Expo. It was made of steel, painted in red, full of mechanic curves, and becomes soft and harmonic with its natural and free shapes.
|
|
|
.jpg)
|
Phoenix Scales the Heavens
Stainless steel
Left back of Asia Museum of Modern Art
Yuyu Yang
Phoenix, a kind of smart and lucky bird, is a favorite of Chinese people, symbolizing the wish of the Chinese for an ideal world. As a contrary of the dragon which is the power source of restless changes, the phoenix is an expression of ultimate peace. In the old legend, the phoenix appears when the human era is harmonic; only in that time can the phoenix be seen; and it seems that every virtue comes via the fly wings of the phoenix.
The work "Phoenix Scales the Heavens" by Yuyu Yang depicts a vivid phoenix with open wings flying in the sky. Composed by five steel pieces, the work is simple but impressive, with a symbol of welcoming the future with a prosperous era.
|
|
|
|
Mother and Daughter
Stout Campho
AU Library Hall
Mu-Xiang Kang
Mu-Xiang Kang is a well-known wood carver from Sanyi Township (a small town in Miaoli County, Taiwan, known almost exclusively for its woodcarving industry), as well as one of the resident artists at Asia University. He has been invited to display his work in many domestic and international exhibitions. The themes of his work are predominantly centered on love and inclusivity. Mr. Kang’s motto is to strive to make his work representative of his character and soul.
The wood carving "Mother and Daughter" was carved by Kang during a live performance celebrating the 8th anniversary of Asia University. The difference between this work and regular sculptures is that Kang first contemplated the shape and feel of the wood and sought his inspiration from its existing grains and grooves. Within a short amount of time, he produced a natural yet vividly lifelike wood sculpture.
|
|
|
|
Maternity
Bronze
AU Library Hall
Yuan-Heng Lee
Yung-Heng Lee and Teh-Chun Chu are two of the most outstanding contemporary artists of Chinese descent in France. The sculpture,“Maternity”, was awarded the Silver Medal by the French Artists’ Salon in 1984.
The subject matter of their artwork is predominantly focused on mothers and children. Perhaps this sort of direction enables them to better portray humanity and the growth and continuance of life. The emotion depicted in the mother and daughter along with the breathtaking scenery are meant to express a more beautiful and peaceful side of humanity. The intent of the artists is to use this imagery to cast away the gloom and darkness of the world and evoke the beauty, goodness, and sincerity inherent in the deeper levels of human nature.
|
|
|
.jpg)
|
Advent of the Phoenix (2)
Bronze
Middle courtyard in the Health Science Building
Yuyu Yang
This work is the same as that appears to the right of the front courtyard of the Management Building except that the size is smaller and that the material is bronze instead of steel. For comments on the work, see those listed right above which says essentially that the phoenix is a lucky bird appearing only in the superb harmonic era.
|
|
|
.jpg)
|
Evolution
Bronze
Front of AU Gymnasium
Yuyu Yang
The high stone wall and the deep flowing creek in the Taroko Valley in Hualein touched Prof. Yuyu Yang; the scene not only contains natural vigor but also symbolizes the strength of the Chinese people's life. This enlightened Yang to created this unique work "Evolution" which is composed of the shapes of a waving sleeve of a Chinese opera actor as well as a high-rising peak of a mountain. The seemingly mutually-opponent great geography as well as profound history are both absorbed and tolerated by the Chinese culture, leading to the creation of this great art piece "Evolution" by Prof. Yuyu Yang.
|
|
|
.jpg)
|
Enjoyment with a Bull
Bronze
Front yard of Management and Humanity Building
Hsiu-Chi Wang
This work "Enjoyment with a Bull" is kind of down-to-earth and arouses people's memory of countryside life. The little girl rests on the bull back leisurely, showing an intimate affection between the human and the animal as well as the carefree feeling in the rural environment. The observer of the artwork may imagine to sit on the bull back with the girl to live a life in a past village. While cherishing the memory of old times in this way, people hopefully will appreciate more the rich life of today.
|
|
|
.jpg)
|
Teenager
Bronze
Right side of front door of Health Science Building
Ten-Chuan Yu
This work of Master Yu's, "Teenager" shows a girl staring at a bird which is frightened by humans. People observing the work will eventually be intoxicated to imagine:
light wind and thin cloud at night;
pretty flowers and a round moon outside the window;
crying frogs and singing birds in a poem-like night with a shining moon; and
a young girl dreaming of a hopeful future.
|
|
|
.jpg)
|
In the Isle of Happiness
Bronze
Artwork Park in front left of Management and Humanity Building
Shang-Ping Chen
The work seems like playing a symphony of countryside life, showing the meaning that in the multitude of counselors, there is wisdom. The creator of the work, Prof. Shang-Ping Chen, tried to cherish the memory of boyhood and depict the relation between humans and nature. Besides, Prof. Chen sedulously sculpted the land under the three boys into the shape of the Taiwan Island and name his work as "in the Isle of happiness," aiming to show the rich spiritual life in Taiwan.
|
|
|
.gif)
|
Life
Steel Sculpture
Doorway of Information Science Building
Kuo-Hua Chen
Located at the doorway of the Information Science Building and under the transparent dome of the building, this steel artwork "Life," with its intertwining curve rising upward, looks like the DNA structure of animals, symbolizing the increase of lives or even the developments of the Department of Biomedical Informatics as well as the Department of Biotechnology.
|
|
|
|
Tseng-Lien Lin's Memorial Statue
Bronze
Artwork Park in front left of Management and Humanity Building
Ten- Chuan Yu
This sculpture symbolizing the characteristics "plainness, braveness, sincerity, and charity" of the past AU Founder Mr. Tseng-Lien Lin is a work of Master Ten- Chuan Yu, made of bronze with three giant books representing respectively "Enterprise --- Yo Ji Construction, Co.," "Education --- Asia University," and "Welfare --- beneficence." In the sculpture, Mr. Lin put his hands on the books, symbolizing his goals and image of working hard for enterprise, education, and welfare businesses. The giant books are stacked in a shape of a fan, representing Mr. Lin's effort to hand down his idea of running a good school so that all students can respect, think, and learn in meaningful ways.
In addition, there are two sculptures aside, one being a diligent and competent senior high school student with a schoolbag and staring at Mr. Lin, and the other being a tender-aged girl carrying a doll, looking back at Mr. Lin, and talking with him like a granddaughter. The entire set of sculptures appear to have hierarchy and order, showing more of completeness and kindness.
|
|
|
|
Family Wish Comes True
F. R. P.
Grass field between Administration Building and Information Science Building
Chi-Chan Chen
Created by Prof. Chi-Chan Chen in Asia University and located in front of the International Conference Hall in the Administration Building, this work "Family Wish Comes True" originated from the idea of imitating the calligraphic Chinese writing of "a single stroke of wish coming true," which was then transformed into the shape of a mother together with a child. The work is made by a style of smoothness and harmony, depicting the beauty of abstract roundness and expecting the effect of melting family happiness and job agreeableness into the sculpture. The entire artwork is indeed a very meaningful and impressive masterpiece!
|
|
|
|
Ring Password
Vietnam marble
Grass field in front of Health Science Building
Tsu-Ching Lee
The work "Ring Password" represents a series of recycling codes, symbolizing the natural rule of growing of biological creatures in the universe and interpreting the philosophy of "everything being changing." It represents as well an investigation of the nature of life within its living and cease period. The rings on the work represents the vivid-cycling and origin-returning natures of all entities, and shows the properties of unification, stretching, and spacing.
|
|
(2019-07-22 updated)
|
.jpg)
.jpg)
.jpg)
.jpg)
.JPG)
.jpg)
.JPG)
.jpg)
.jpg)
.JPG)
.jpg)
.jpg)
