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題名:日治臺展新南畫與地方色彩:大東亞框架下的臺灣文化認同
書刊名:藝術學研究
作者:謝世英
作者(外文):Hsieh, Shih-ying
出版日期:2012
卷期:10
頁次:頁133-208
主題關鍵詞:地方色彩南畫東洋文明日治臺灣美術殖民大東亞文化認同Local colorNangaEastern cultureTaiwanese art under Japanese ruleColonizationGreater East Asian cultural identity
原始連結:連回原系統網址new window
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  • 被引用次數被引用次數:期刊(6) 博士論文(0) 專書(0) 專書論文(0)
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日治時期臺灣美術的地方色彩,描繪臺灣特有的天候、地理、自然、人情與風俗等地方特徵,然而臺灣鄉土藝術(地方色彩)意味的不僅是在於題材的選擇,也是文化特徵的組合,除努力製作臺灣題材之外,小澤秋成、石川欽一郎等西洋畫家在油畫、水彩作品中,運用屬於南畫手法的筆墨線條、構圖留白、簡筆筆觸等,創出具有東洋藝術意味的台灣風景。另一方,林玉山、結城素明等東洋畫家,雖然使用傳統媒材,但西畫式的技巧如塗抹、鳥瞰構圖等,作品被當時的評論家評論為失去東洋藝術價值。本文主張被殖民處境下的臺灣文化認同,屬於大東亞文化認同的脈絡,具有兩個相互重疊的層面,一是建基於亞洲國家同質性的亞洲共同體,大東亞文化認同連結亞洲不同地區,並且建立彼此之間命運共存共屬的歸屬感。南畫(水墨畫)是亞洲地區的共同文化傳統,南畫筆墨線條、留白、氣韻生動等特徵,成為東洋藝術精神的體現。不論是使用東(傳統)、西洋(現代)媒材,創出具有東洋藝術精神的作品,是日治臺灣美術的主要方向。另一層面,臺灣在大東亞文化認同中的脈絡的定位,其獨特性是建立在與亞洲其他地區的差異處之上,反映在題材上,與北國日本的對照,日本優雅、臺灣粗曠,南國風情的芭蕉、水牛、相思樹成為台灣特色,彼此特色倚賴在與對方的差異性上。大東亞文化框架下台灣文化認同,不但需尋求亞洲地區之間的同質性,也需尋求異質性,兩個層面各自獨立但又互相重疊,構成臺灣文化認同的複合、多元性的複雜結構。本文由日治《臺灣日日新報》上對臺展的評論與主張,探討日治南畫風格發展的不同層面,透過文本、公共論述與歷史文獻的鋪陳,輔以具體作品的分析,理解地方色彩、新南畫在大東亞框架下臺灣文化認同的意涵、建構與發展,勾勒出日治時期臺灣美術中追尋文化主體性的過程與面貌。
"Local color" in art during Taiwan's Japanese colonial period refers to the depiction of distinctively Taiwanese features- scenes, climate, natural features, customs, and so on. However, local color was not only a matter of choice of subject-matter but also a construct of cultural characteristics. Western-style painters such as Ozawa Akinari (1886-1954) and Ishikawa Kin'ichirō (1871-1945) incorporated techniques of traditional ink paintings (which they referred to as nanga or "southern painting") in their oils and watercolors to create Taiwanese landscapes with an East Asian flavor. Meanwhile, Eastern-style painters such as Lin Yushan (1907-2004) and Somei Yūki continued to use traditional materials but borrowed Western techniques such as impasto and bird's-eye perspective, but they were criticized as lacking the essence of Eastern painting, as their finished works looked more like Western paintings. This study argues that Taiwan's cultural identity as a Japanese colony had two overlapping contexts within the broader context of East Asian cultural identity. The first was based on the establishment of this greater East Asian cultural identity, made possible by the commonalities among Asian countries and linked with a shared sense of belonging among different regions in Asia. Nanga or ink painting, with its emphasis on line, its use of void spaces, and so on, was the common cultural heritage of the region; it became representative of the spirit of Eastern art. The second context was based on presenting Taiwan as distinctive from its Asian neighbors. This was reflected in the selection of the materials used: in comparison with elegant Japan, Taiwan was coarse. Artists selected "southern" Taiwanese subject-matter that contrasted with that of "northern" Japan (banana trees, water buffaloes, acacia trees, etc.). Taiwanese cultural identity under the broader East Asian cultural framework had to search for aspects of homogeneity with other Asian regions but also aspects of heterogeneity- the two layers were independent, yet overlapping. In this way, Taiwan's pluralistic, diverse, and complex cultural identity was formed. Drawing upon critiques and articles on the Taiwan Fine Arts Exhibition (Taiten) in the Taiwan Nichinichi shimpō and other texts and historical documents, besides the artworks themselves, this study intends to explore various aspects of Taiwan's developing cultural identity during the Japanese colonial period, including the meaning of local color and new nanga. In so doing, the search for cultural subjectivity in Taiwanese art during this period is delineated.
期刊論文
1.劉曉路(19980300)。大村西崖和陳師曾--近代為文人畫復興的兩個異國苦鬥者。故宮學術季刊,15(3),115-128+左7。new window  延伸查詢new window
2.楊永源(20080500)。石川欽一郎臺灣風景畫中「地方色彩」概念的建構。藝術學研究,3,73-129。new window  延伸查詢new window
3.顏娟英(20040600)。日治時期地方色彩與臺灣意識問題--林玉山從「水牛」到「家園」系列作品。新史學,15(2),115-143。new window  延伸查詢new window
4.謝世英(20080500)。妥協的現代性:日治時期臺灣傳統廟宇彩繪師潘春源。藝術學研究,3,131-169。new window  延伸查詢new window
5.邱彩虹、松林桂月(1929)。臺展審查的的感想。臺灣教育,329,103。  延伸查詢new window
6.王白淵(1943)。第六回府展雜感:藝術的創造力。臺灣文學,4(1)。  延伸查詢new window
7.李圭之(2007)。在傳统中發現近代:京都學派學者内藤湖南的東洋意識。國家發展研究,7(1),121-152。new window  延伸查詢new window
8.林玉山(1954)。藝道畫滄桑。臺北文物,3(4),77-80。  延伸查詢new window
9.蔣采萍(1994)。現代日本畫與顏料和技法的革新。美術史論,4,34-36。  延伸查詢new window
10.賴明珠(1990)。日治時期的「地方色彩」理念--以鹽月桃甫及石川欽一郎對「地方色彩」理念的詮釋與影響為例。視覺藝術,3,43-74。new window  延伸查詢new window
11.Wong, Aida-Yuen(2000)。A New Life for Literati Painting in the Early Twentieth Century: Eastern Art and Modernity, a Transcultural Narrative?。Artibus Asiae,60(2),279-326。  new window
圖書
1.Bhabha, Homi K.(1993)。The Location of Culture。New York。  new window
2.薛燕玲(2004)。日治時期臺灣美術的「地域色彩」。臺中:國立臺灣美術館。new window  延伸查詢new window
3.顏娟英(200508)。水彩.紫瀾.石川欽一郎。台北:雄獅圖書公司。new window  延伸查詢new window
4.林柏亭(1995)。嘉義地區繪畫之研究。臺北:國立歷史博物館。new window  延伸查詢new window
5.蕭瓊瑞(1996)。府城民間傳統畫師專輯。臺南市政府。  延伸查詢new window
6.Fenollosa, Ernest F.(1912)。Epochs of Chinese and Japanese Art: An Outline History of East Asiatic Design。New York。  new window
7.Lai, Kuo-sheng(1999)。Rescuing Literati Aesthetics: Cheng Hengke (1876-1923) and the Debate on the Westernization of Chinese Art。College Park, MD。  new window
8.Morioka, Michiyo(2008)。Literati Modern, Bunjinga from Late Edo to Twentieth-Century Japan: The Terry Welch Collection at the Honolulu Academy of Arts。Honolulu。  new window
9.鹽月善吉(1934)。第八回臺展前夕。臺灣教育。  延伸查詢new window
10.林玉山(1982)。序言。雨聲草堂吟草。臺南。  延伸查詢new window
11.陳澄波(1935)。臺陽畫家談臺灣美術。臺灣文藝。  延伸查詢new window
12.黃冬富(2007)。日治時期臺灣東洋畫風之發展。臺灣美術丹露。臺中。  延伸查詢new window
13.顏娟英(2001)。百家爭鳴的評論界。風景心境。  延伸查詢new window
14.金關丈夫(1941)。繪畫座談會:日本式繪畫及戰爭畫等。東寧。  延伸查詢new window
15.大高文濤、宮武辰夫(1936)。臺展第十回展論。風景心境。  延伸查詢new window
16.石川欽一郎(1926)。初冬漫步。風景心境。  延伸查詢new window
17.金關丈夫(1941)。繪畫座談會:日本式繪畫及戰爭畫等。風景心境。  延伸查詢new window
18.立石鐵臣(1939)。地方色彩。風景心境。  延伸查詢new window
19.第二回臺灣美術展覽會:會場中一瞥作如是我觀。風景心境--臺灣近代美術文獻導讀。  延伸查詢new window
20.尾崎秀真(1936)。書道的精神:全國書道展觀後記。風景心境。  延伸查詢new window
21.倪蔣慶(1936)。恩師 石川欽一廬先生。風景心境。  延伸查詢new window
22.飯田實雄(1939)。臺灣美術界秋季展望。風景心境。  延伸查詢new window
23.野村幸一(1935)。臺陽展觀感。風景心境。  延伸查詢new window
24.鷗亭生(1932)。第六回臺展之印象。風景心境。  延伸查詢new window
25.陳澄波(1935)。臺陽畫家談臺灣美術。風景心境。  延伸查詢new window
26.鷗汀生、XYZ生(1931)。第五回臺展評論。風景心境。  延伸查詢new window
27.鷗汀生、永山生(1933)。今年第七回的臺展。風景心境。  延伸查詢new window
28.鷗亭生(1927)。第一回臺展評。風景心境。  延伸查詢new window
29.鹽月桃甫(1938)。臺灣的山水。風景心境。  延伸查詢new window
30.鹽月善吉(1931)。答覆對第五回臺展鑑查的偏見。風景心境。  延伸查詢new window
31.鹽月善吉(1934)。第八回臺展前夕。風景心境。  延伸查詢new window
32.王白淵(1943)。第六回府展雜感:藝術的創造力。風景心境。  延伸查詢new window
33.Addiss, Stephen(2002)。The Flourishing if Nanga。An Enduring Vision, 17th to 20th Century Japanese Painting from the Gitter-Yelen Collection。New Orleans。  new window
34.Bhabha, K. Homi(1998)。Culture’s in Between。Multicultural States: Rethinking Difference and Identity。London & New York。  new window
35.Takashi, Hirota(1995)。Example (Tehon) and Textbooks (Kyokasho)。Nihonga, Transcending the Past: Japanese-style Painting, 1868-1968。St. Louis, MO ; Tokyo。  new window
36.Masako, Koyano(1996)。Nihonga Materials and Techniques。Nihonga, Transcending the Past: Japanese-Style Painting, 1868-1968。St. Louis, MO ; Tokyo。  new window
其他
1.鷗汀生,永山生(1933)。今年第七回的臺展。  延伸查詢new window
2.尾崎秀真(19360924)。書道的精神--全國書道展觀後記。  延伸查詢new window
3.(19271029)。美展談談。  延伸查詢new window
4.(1928)。第二回臺灣美術展覽會:會場中一瞥作如是我觀。  延伸查詢new window
5.(1927)。臺灣美術展讀書記。  延伸查詢new window
6.(1928)。臺灣美術展會場中一瞥作如是我觀。  延伸查詢new window
7.立石鐵臣(1939)。地方色彩。  延伸查詢new window
8.一記者(1929)。第三回臺展之我觀上。  延伸查詢new window
9.一記者(1930)。第四回臺灣美術展之我觀。  延伸查詢new window
10.石川欽一郎(1926)。初冬漫步。  延伸查詢new window
11.一記者(1931)。第五回臺灣美術展之我觀(下)。  延伸查詢new window
12.一記者(1932)。臺展會場之一瞥(上)東洋畫依然不脫洋化而西洋畫則近東洋。  延伸查詢new window
13.一記者(1932)。臺展會場之一瞥(下)東洋畫依然不脫洋化而西洋畫則近東洋。  延伸查詢new window
14.大高文濤,宮武辰夫(1936)。臺展第十回展論。  延伸查詢new window
15.N生(1930)。第四回臺展觀後記。  延伸查詢new window
16.松林桂月(1929)。沒有遊戲成分,期待擁有臺灣特色。  延伸查詢new window
17.松林桂月(1929)。表現個性乃是藝術尊貴之處感嘆於窠臼的追求。  延伸查詢new window
18.倪蔣慶(1936)。恩師 石川欽一廬先生。  延伸查詢new window
19.飯田實雄(1939)。臺灣美術界秋季展望。  延伸查詢new window
20.野村幸一(1935)。臺陽展觀感。  延伸查詢new window
21.潤(1933)。第七回臺展之我觀(下)。  延伸查詢new window
22.潤(1935)。臺展東洋畫一瞥。  延伸查詢new window
23.魏清德(1930)。島人士趣味一班(七)書道繪畫界之一瞥。  延伸查詢new window
24.鷗汀生,XYZ生(1931)。第五回臺展評論。  延伸查詢new window
25.鷗亭生(1927)。第一回臺展評。  延伸查詢new window
26.橫路啓子(200006)。日據時期的藝術觀,http://www.srcs.nctu.tw/joyceliu/TaiwanLit/online_papers/Shioya3.htm, 2006/05/10。  new window
27.鷗亭生(1932)。第六回臺展之印象。  延伸查詢new window
28.鹽月桃甫(1938)。臺灣的山水。  延伸查詢new window
29.鹽月善吉(1931)。答覆對第五回臺展鑑查的偏見。  延伸查詢new window
圖書論文
1.簡唐、顏娟英(2001)。台展東洋畫地方色彩的回顧。風景心境--臺灣近代美術文獻導讀。臺北:雄獅。  延伸查詢new window
2.Hobsbawm, Eric J.(1983)。Introduction: Inventing Traditions。The Invention of Tradition。Cambridge University Press。  new window
3.顏娟英(2001)。臺灣畫壇上的個性派畫家--鹽月桃甫。風景心境--臺灣近代美術文獻導讀。臺北:雄獅美術。  延伸查詢new window
 
 
 
 
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