席德進(1923-1981)人物畫研究

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Title:	席德進(1923-1981)人物畫研究
Authors:	陳秀珠;Xiu-Zhu Cheng
Contributors:	藝術學研究所
Date:	2001-01-30
Issue Date:	2009-09-22 09:33:23 (UTC+8)
Publisher:	國立中央大學圖書館
Abstract:	本論文從人物畫題材的特性出發，探索當時的社會氛圍與席德進的個人特質，並藉此對席德進人物畫的藝術表現作一種補充論與再定位的探討。在這樣的目的與方向之下，本文主要分成三大部份。一是關於席德進人物畫主題意涵的研究，二是風格特色的研究，三是藝術定位的研究。在第二章主題意涵的研究上，我們從作品的閱讀出發，首先將之分成五分類，建立其典型形式，再嘗試關聯到其所指涉的社會性與個人性意涵。其意涵簡述如下。名媛仕紳畫像中反映了當時流行的社會品味，藝術家畫像中刻劃了藝術家內省式的形象並映射出一種沉悶的文藝氣氛，市井人物畫像呈現了席德進歌頌鄉土與觀看市井小民的視角，青少年畫像中則呈現了席德進的同性戀傾向的公開與私密性表現的差異，而自畫像中則映照出席德進自我認知的一種矛盾性。綜合這些人物主題的表現，我們看到了台灣現代化過程中樣式化的社會形象，以及席德進自我表現的曖昧性格。在第三章風格特色的研究上，我們歸納出席德進人物畫的裝飾性背景、剛硬有力的線條、誇張變形的造型、理想與寫實的交錯四項個別性特色，並以現代性特質綜述之。「現代」一直是席德進的藝術方向的基本指標，其中並以形式與民族性的追求為兩大重要方向，不過我們以為其許多人物素描作品中，對社會現實情狀的觀察與個人自我慾望的表述，所表彰的自我認知與表現的面向，才是符合Baudelaire 所謂的現代性特質的表現。在第四章藝術定位的研究上，我們嘗試以上述研究為基，再分從席德進的藝術生涯與當時藝術環境的角度來定位其人物畫的表現。並因此以為，席德進人物畫不同於他在時代潮流的脈絡下所伸張的現代中國畫的理念與創作方向的民族性格，而揭示出社會現實情境與個人慾望滿足等世俗性面向，如此的創作面向並為席德進一生對現代的追求作了一種補充性的說明。至於，席德進人物畫與當時藝術環境的關係，我們則認為其指出了當時的現代化藝術潮流所強調的民族性實踐偏向的侷限性，並揭示出一些不同的表現面向。其中，男性裸體畫所表彰的身體意識，更與當時的道德與形式論述統馭下的人體畫表現相對，而挑戰著藝術與色情的界線；青少年畫像中所呈顯的同性情慾與同性戀慾望，則質問著社會對他者形象的監控與壓抑的問題。如此，經由這樣的探討，我們發現席德進人物畫中浮顯了席德進個人藝術創作的兩面性與矛盾性，及當時主流藝術創作的偏向與限制。我們並希望本文中所引發的一些命題能繼續發酵，以擴展台灣美術史的研究面向。 My thesis tries to explore the specialities of Shiy-De-Jinn’s portraits against the background of the contemporary social context and his personal character, so as to enhance our understanding of Shiy’s portraiture and further reconsider its position in art history. To achieve these goals, I proceed in three directions. One is the discussion about the significance of the subjects; another about the style; and the other about its position. In chapter two, I begin by dividing the portraits into five groups according to subjects, and defining their typical forms, and then try to explore their significance concerning both social personal aspects. The portraits of ladies and gentlemen reveal the social taste at that time. The portraits of the artists describe the inner image of the artists and reflect the artistic atmosphere of that time. The portraits of the ordinary people represent the way Shiy praises his country and regards his fellowmen. The portraits of the youth represent the differences between public and private expression that Shiy followed his homosexual tendency. The self-portraits mirror Shiy’s paradox in self-recognition. Above all, in these portraits of different subjects, we see several typical social images in the modernization of Taiwan, and the ambiguous character in Shiy’s self-expression. In chapter three, I find out five characteristics in Shiy-De-Jinn’s portraits, including ornamental background, powerful and sharp lines, the exaggerated form, the ideal and the real intention, and the quality of modernity. “Modern” is the main concern in Shiy’s thoughts on art, in which form and nationality are two important guiding directions. However, in my opinion, the descriptions of social realities and personal desires in his figural drawings not only reveal his self-recognition and expression, but also match Baudelaire’s modernity most closely. In chapter four, I try to position Shiy-De-Jinn’s portraits in the contexts of both his artistic life and contemporary artistic environment. As we shall see, Shiy’s portraits have little to do with his publicly declared ideal of “modern Chinese painting” which holds the national character as its essential; instead, his portraits focus on the representation of social realities and personal desires. Nevertheless, We may interpret this as supplements to his search for “Modern” in some way. As for the relationship with the artistic environment, I think Shiy’s portraits point out the limit of contemporary art movement for its national concern, and open up another direction. Besides, the consciousness of body expressed in his male nude is strongly different from the ethical and formal concern in dominant nude at that time, and challenges the boundary between art and eroticism. And the homoeroticism and homosexual desire expressed in Shiy’s portraits of the youth then question the society for its surveillance and repression on the images of “other”. After all the discussion, we find out Shiy-De-Jinn’s personal paradox through his portraits, and the limits in contemporary art movement. And I hope these topics can continue to arouse interests in the near future, so as to expand the field of research in the history of art in Taiwan.
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