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| 題 名 | 戰爭期間的彭瑞麟及其藝術=Peng Ruei-lin and His Art during the War |
|---|---|
| 作 者 | 郭昭蘭; | 書刊名 | 藝術評論 |
| 卷 期 | 50 2026.01[民115.01] |
| 頁 次 | 頁59-106 |
| 專 輯 | 藝術、戰爭、歷史:1945之前與之後 |
| 分類號 | 950 |
| 關鍵詞 | 彭瑞麟; 攝影藝術; 戰爭; 日軍徵召; 風景速寫; Peng Ruei-lin; Japanese military conscription in Taiwan; Photography; Sketch of landscape; |
| 語 文 | 中文(Chinese) |
| DOI | 10.53106/101562402026010050002 |
| 中文摘要 | 彭瑞麟是臺灣第一位到日本取得攝影學士的攝影家。他1930年的作品《靜物》攝影所採用的三色碳墨轉染天然寫真印畫法標誌了彩色攝影勃興之前,結合工藝與科學的彩色影像技術的演進史。1938年彭瑞麟被日軍徵召到廣東戰場,因此留下一批戰爭期間的攝影與風景速寫,隨後又於太平洋戰爭期間,捲入越南復國同盟會的復國運動。彭瑞麟在戰爭期間留下的攝影,成了臺灣藝術史上極為少數的戰爭中攝影的案例。有關彭瑞麟攝影的研究,近期逐漸獲得學者、機構與展覽的關注,但是這一段戰爭期間的攝影作品與風景速寫,總是被當作彭瑞麟攝影意外的插曲而被一筆帶過。本研究奠基既有藝術史研究的成果,從新近出土的史料、日記與文獻,重新檢視戰爭期間的彭瑞麟及其藝術,嘗試給這一批戰爭期間的藝術一個恰當的歷史定位。通過閱讀彭瑞麟留下在廣東時期的相本,及其相關影像材料的可見與不可見,本論文還原戰爭局勢下彭瑞麟的生命與藝術軌跡,指出其中特殊的日常感與匿名性,以及超乎創作主體可操作的動員價值。 |
| 英文摘要 | Photographer Peng Ruei-lin (1904-1984) is considered the first Taiwanese photographer to earn a bachelor's degree in photography in Japan during Colonial Period. His 1930 work "Still Life," featuring a three-color carbon ink transfer printing technique, marks the evolution of color imaging technology, combining craft and science, before the emergence of color photography. In 1938, Peng Ruei-lin was drafted by the Japanese army in Guangdong, leaving behind a collection of wartime photographs. Peng Ruei-lin compiled his Guangdong photos into a collection called "Guangdong Album," annotated in Japanese. Research on Peng Ruei-lin's photography has recently garnered increasing attention from scholars, institutions, and exhibitions. However, his wartime photography has often been overlooked as a minor interlude in Peng Ruei-lin's career. This study builds upon existing art-historical research and seeks to fill the gaps in that research. Drawing on recently unearthed historical materials, diaries, and documents, it reexamines the war themes in Peng Ruei-lin's photography, attempting to situate his wartime photography in an art-historical context by examining the photo albums left by Peng Ruie-lin during his time in Guangdong, as well as the visible and invisible related image materials, this paper reconstructs Peng Ruie-lin's life and artistic trajectory under the war situation and points out that the unique sense of everyday and anonymity as well as the mobilization value which is beyond the control of the photographer/artist himself. |
本系統中英文摘要資訊取自各篇刊載內容。