存在之美—臺灣畫家陳進（1907-1998）人物畫中的時空延續(xù)性
發(fā)布時間：2018-08-02 17:29
【摘要】：陳進(1907-1998)為臺灣膠彩畫(又稱東洋畫)女畫家。日治中后期,她以人物題材展開其畫業(yè),屢獲「臺展」、「帝展」之殊榮。在那個由傳統(tǒng)走向西化、工業(yè)化的年代,「人物畫」寫實性的掌握幾乎作為東方現(xiàn)代化進程之直接標志。臺灣因中日馬關條約而割讓日本,對它而言,與中原文化、日本文化及日式現(xiàn)代化之復雜的沖撞、過渡、交融,直至尋找自身棲居之所的過程,從陳進人物畫作之倒影中,不難顯現(xiàn)。同時她以純摯的理念追求「美」,延續(xù)并超乎現(xiàn)世個人主體,自戰(zhàn)火余灰中、政治更迭里保存自身。適逢畫家誕辰一百一十周年,本文在前人多元的研究成果中,將膠彩畫的材料制作流程與繪制人物畫的基本技術條件,作為「現(xiàn)象」再次詮釋。具體討論她提出的「美」,藉由特定的身體運動與知覺意識何以實現(xiàn),并成為圖象之內(nèi)/外,主體在時空上的開創(chuàng)或延續(xù)。她筆下的臺灣人文風景、陸續(xù)出現(xiàn)的新親人等主題,將不再僅指向圖像可讀的文化意涵,更朗現(xiàn)了原初認知力反復重現(xiàn)的強度,以及面向「初次」乍現(xiàn)的經(jīng)驗時,知覺產(chǎn)生的驚動力。她憑借自由與自省互為表里的繪制態(tài)度,從東方線條活動中透視它以自身創(chuàng)生了新的時間意義,體現(xiàn)于精微之人物動態(tài)中。同時,攝影技術之運用將畫面凝固于瞬間,與新式身體和時空的互動姿態(tài)、都市生活閃現(xiàn)的對象相互迭映。以上,皆涵攝于無聲而歷久的膠彩畫創(chuàng)作行動。
[Abstract]:Chen Jin (1907-1998) is a female painter of Taiwanese plastic painting (also known as Dongyang painting). In the middle and later period of Japanese government, she developed her painting industry with characters, and won the honor of "Taiwan exhibition" and "emperor exhibition". In the age of westernization from tradition to industrialization, the mastering of realism in figure painting is almost a direct symbol of the modernization process in the East. Taiwan ceded Japan because of the Treaty between China and Japan. For it, it was in conflict with the Central Plains culture, Japanese culture and the complicated modernization of Japanese style, transitioning and blending, until the process of finding a place to live in, from the reflection of Chen Jin's portrait paintings. It's easy to see. At the same time, she pursues "beauty" with the pure and sincere idea, continues and transcends the present life individual main body, since the war remains ashes, the political change preserves itself. On the occasion of the 110 anniversary of the birth of the painter, this paper interprets the material production process and the basic technical conditions of drawing figure painting as "phenomena" in the pluralistic research achievements of predecessors. This paper specifically discusses how the "beauty" proposed by her is realized by specific physical movement and perceptual consciousness and becomes the creation or continuation of the subject in time and space within and outside the image. The cultural scenery in Taiwan, as well as the themes of new relatives, will no longer only point to the cultural implications of image readability, but also show the intensity of repetition of the original cognitive power, and when facing the "first" experience, A shock of consciousness. By means of her drawing attitude of freedom and introspection, she sees through the activities of the eastern lines that it creates a new meaning of time by itself, which is embodied in the subtle character dynamics. At the same time, the use of photography solidifies the picture in an instant, with the new body and space-time interactive posture, urban life flashing objects overlap. All of the above are in the silent and long-lasting creation of colloidal painting action.
【學位授予單位】：中央美術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212
本文編號：2160156
[Abstract]:Chen Jin (1907-1998) is a female painter of Taiwanese plastic painting (also known as Dongyang painting). In the middle and later period of Japanese government, she developed her painting industry with characters, and won the honor of "Taiwan exhibition" and "emperor exhibition". In the age of westernization from tradition to industrialization, the mastering of realism in figure painting is almost a direct symbol of the modernization process in the East. Taiwan ceded Japan because of the Treaty between China and Japan. For it, it was in conflict with the Central Plains culture, Japanese culture and the complicated modernization of Japanese style, transitioning and blending, until the process of finding a place to live in, from the reflection of Chen Jin's portrait paintings. It's easy to see. At the same time, she pursues "beauty" with the pure and sincere idea, continues and transcends the present life individual main body, since the war remains ashes, the political change preserves itself. On the occasion of the 110 anniversary of the birth of the painter, this paper interprets the material production process and the basic technical conditions of drawing figure painting as "phenomena" in the pluralistic research achievements of predecessors. This paper specifically discusses how the "beauty" proposed by her is realized by specific physical movement and perceptual consciousness and becomes the creation or continuation of the subject in time and space within and outside the image. The cultural scenery in Taiwan, as well as the themes of new relatives, will no longer only point to the cultural implications of image readability, but also show the intensity of repetition of the original cognitive power, and when facing the "first" experience, A shock of consciousness. By means of her drawing attitude of freedom and introspection, she sees through the activities of the eastern lines that it creates a new meaning of time by itself, which is embodied in the subtle character dynamics. At the same time, the use of photography solidifies the picture in an instant, with the new body and space-time interactive posture, urban life flashing objects overlap. All of the above are in the silent and long-lasting creation of colloidal painting action.
【學位授予單位】：中央美術學院
【學位級別】：碩士
【學位授予年份】：2017
【分類號】：J212
【參考文獻】
相關期刊論文 前1條
1 賀曉舟;;清末中國的留日美術女生——以日本私立女子美術學校江蘇籍女生為主的考察[J];南京藝術學院學報(美術與設計版);2014年03期
，本文編號：2160156
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