2. 臺灣雕塑家朱銘初從李金川師傅學習傳統廟宇的雕刻與繪畫，30 歲拜入台灣雕塑界大師(楊英風)門下，融合傳統木雕與現代雕塑的精神，逐漸發展出超越兩者的獨特風格。

三、申論題1. Michael Rush 在他 2005 年的著作《新媒體藝術》(New Media in Art)一書卷首開宗明義地表示： One of the characteristic perceptions of twentieth-century art was its persistent tendency to question the long tradition of painting as the privileged medium of representation. Early in the century Braque’s and Picasso’s determination to incorporate everyday material in their paintings (…) was expressive of their struggle to extend the content of the canvas beyond paint. This “struggle with the canvas” pointed the way for scores of twentieth-century artists, from the Russians Malevitch and Tatlin, to Pollock at mi-century, to a painter such as Richard Prince whose abstractions take shape in a computer before they are painted onto the canvas. Abstraction, Surrealism, and Conceptualism, to name but a few twentieth-century forms, all participated in a profound questioning of traditional painting. 請問您是否同意作者的觀點? 請發表你對這段文字的看法。

2. 臺灣雕塑家朱銘初從李金川師傅學習傳統廟宇的雕刻與繪畫，30 歲拜入台灣雕塑界大師(楊英風)門下，融合傳統木雕與現代雕塑的精神，逐漸發展出超越兩者的獨特風格。

相關申論題

相關試卷

2. 臺灣雕塑家朱銘初從李金川師傅學習傳統廟宇的雕刻與繪畫，30 歲拜入台 灣雕塑界大師(楊英風)門下，融合傳統木雕與現代雕塑的精神，逐漸發展出 超越兩者的獨特風格。

相關申論題

相關試卷

2. 臺灣雕塑家朱銘初從李金川師傅學習傳統廟宇的雕刻與繪畫，30 歲拜入台灣雕塑界大師(楊英風)門下，融合傳統木雕與現代雕塑的精神，逐漸發展出超越兩者的獨特風格。