觀看淡水－風景意象的形成與風景畫; Viewing Tamshui－the shapingof landscape image and landscape painting

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題名:	觀看淡水－風景意象的形成與風景畫;Viewing Tamshui－the shapingof landscape image and landscape painting
作者:	曹慧如;Hui-ju Tsao
貢獻者:	藝術學研究所
關鍵詞:	淡水風景;風景畫;風景意象;美術展覽會;Tamshui landscape;landscape painting;landscape image;fine art exhibition
日期:	2011-08-08
上傳時間:	2012-01-05 14:06:56 (UTC+8)
摘要:	在〈觀看淡水－風景意象的形成與風景畫〉之前，要先有一個概念，風景畫的製作過程是，首先是觀看風景，其次在心中形成意象（image），最後賦予這個風景意象形式，成為風景畫。不同人面對相同風景，畫出不同的風景畫，是受到意象（image）的影響。意象有賴於過去經驗，曾經看過的風景、風景畫、一段描述風景的文字，這些都儲存於腦中，形成某種先見(屏蔽)，過濾從眼睛進入的資訊。這本論文是比較同一時期淡水實景與淡水風景畫之間的差異，推測淡水風景意象的內涵與形成原因。　　大致上分為三個時期討論，首先是17世紀到1895年間，日本統治臺灣之前的意象，此時期的圖像較缺乏，本文以描述風景的文字作為主要討論文本，藉由探討作者身分，討論此時期風景意象產生的原因。第二，接下來是1985－1927年日本政府將現代化都市生活引進臺灣，淡水成為市民的休閒地，本文將透過爬梳「臺北八景」與「新台灣八景」的意象，以及淡水在其中的地位，探討淡水意象形成的原因。最後，1927－1945年「臺灣美術展覽會」（簡稱：臺展）中各式的淡水風景畫，臺展是日本「帝國美術院展覽會」周邊的展覽會之一，因此本文將觀日本與臺灣畫壇間的互動，討論典型與非典型淡水風景畫形成的原因。　　Before reading the <Viewing Tamshui－the shapingof landscape image and landscape painting>, we must knowing how the landscape paintings shaping. First, we must watch the landscape, then formation the images in our mind, last we give that image a form, to transform a landscape to landscape painting. So when different people watch the same landscape, because of the effect of their image, they will draw different landscape painting.This kind of image are depended on the painter’s past experience, some scenery or landscape painting they have seen before, a text describe the landscape, those will store in the painter’a brain, become some kind of vision, to filter the incoming information from their eyes. This paper try to compare the difference between the real Tamshui landscape and the Tamshui landscape painting at the same period, and to suggest how the Tamshui landscape image shaped and what is that image. 　　This paper will broadly divided into three periods to discuss, first period is from 17th century to 1895, before the Japenese governed Taiwan. In this period, because of the lacking the images, we use the texts described the landscapes to discuss, through knowing the identify of the texts authors, discussing the reason of the shape of the image of Tamshui landscape. The second period is from 1895 to 1927, after the Japenese bring the morden urban life style to Taiwan, Tamshui became the leisure of Taipei citizen, through the Taipei Eight Views and the New Taiwan Eight Views, and what kind of role Tamshui played in those Views, this paper try to find the reason that the images of Tamshui shaped. The last period is from 1927 to 1945, we will discuss the different kind of Tamshui landscpae painting in Taiwan Fine Art Exhibition, Taiwan Fine Art Exhibition is a branch of Empire Imperial Academy of Fine Arts Exhibition in Japan, so we will look at the interactions of drawing activity in Taiwan and Japan， to discuss the reasons the the shaping of typical and atypical Tamshui landscape painting.
顯示於類別:	[藝術學研究所 ] 博碩士論文

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