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題 名 | 召喚山岳--近代臺灣山岳畫與張啟華壽山圖像=Calling Mountains: The Modern Mountain Painting of Taiwan and the Shou-Shan Images by Zhang Qi-Hua |
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作 者 | 賴明珠; | 書刊名 | 美學藝術學 |
卷 期 | 4 2009.07[民98.07] |
頁 次 | 頁67-112 |
專 輯 | 臺灣前輩畫家張啟華紀念專輯 |
分類號 | 944.9 |
關鍵詞 | 山岳畫; 權力論述; 壽山圖像; 象徵符號; Mountain painting; Power discourse; Shou-Shan image; Symbolic sign; |
語 文 | 中文(Chinese) |
中文摘要 | 在臺灣美術史上,以山岳為主題的繪畫肇始於日本殖民的二十世紀前期。臺灣總督府運用山岳為符號,以視覺圖像配合理蕃探險、帝國征服、休閒強民及地方色彩等多重政策與理念推行之。因而近代山岳畫的引入,實際上夾雜著複雜的殖民統治意涵。山岳圖像作為一種「視覺及言辭的表達」符號,具有「仲介」及「權力」的論述效用。它不再只是殖民藝術家個人表情達意的媒介,而是帝國統治者威權、統轄的象徵。二次大戰後山岳圖像的文化論述如何轉變?如何運用?如何引介戰後日本及西方的視覺案例?又如何在融合外來文化時仍維持創作者的自我?乃是歷經時代磨難臺灣畫家必須面對的挑戰。出生於日本統治前期的張啟華,早年接受日本西洋畫美術教育。中期他與南部畫友們致力於繪畫紮根本土的活動,同時也開始具體實踐壽山意象的創作,嘗試以都會山岳圖像作為視覺的媒介,探索、表達內在的情感與思想。張啟華的壽山圖像不僅串連起戰前、戰後臺灣山岳畫的發展系脈,同時也是他在臺灣繪畫史中獲得定位的關鍵要素。 |
英文摘要 | In the History of Taiwanese Art, choosing mountain as a subject of painting is beginning in the first half of the 20th Century during the Japanese occupation. The Government-general of Taiwan utilized mountains as signs which were used to conform to the colonial multiple policies and ideas for visual images, such as aboriginal exploration, empire conquest, leisure activity, powerful nationals and local color etc. Therefore the introduction of modern mountain painting actually was mingled with complicated colonial meanings. The mountain images possessing the discourse of agency and power are used as signs of visual and verbal expression. The images are not just media for the colonial artists to express the individual feeling, but also the symbols of power and jurisdiction of the empire. How did the cultural discourse of the mountain image change after the 2nd World War? How did it be used? How did the Japanese and Western visual cases be imported and adopted after the war? And how did the painters keep self-identity when merging with foreign culture? The Taiwanese painters who suffered from the tribulation of time must face all of these challenges. Zhang Qi-Hua was born in the early period of the colonial rule. He accepted the Western painting education and spent his youth in Japan. In his middle age he dedicated himself with the painters of southern Taiwan to sponsoring native painting activities. At the same time he began to exercise Shou-shan (Longevity Mountain) images into specific practice. The mountain image of (Kao-hsiung) City were used as visual media by which he could explore and convey deep emotion and thought. The Shou-shan images created by Zhang Qi-Hua are not only connected the linage of Taiwanese mountain painting between the prewar and the postwar, but also the key factor for him to be fixed a position in the history of Taiwanese painting |
本系統中英文摘要資訊取自各篇刊載內容。