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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4828


    Title: 董希文之「油畫中國風」研究
    Authors: 吳思瑩;Szu-Ying Wu
    Contributors: 藝術學研究所
    Keywords: 油畫中國風;油畫民族化;董希文
    Date: 2002-06-20
    Issue Date: 2009-09-22 09:33:42 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 「油畫中國風」這一個詞項是董希文在1957年提出的,其與50年代中期,中國大陸美術界提出的「油畫民族化」口號在內涵上並無明顯差異,兩者皆強調中國油畫需創作凸顯中國風俗民情的題材。董希文以「中國風」代換「民族化」,則是明白地指出必須在油畫中表現出中國繪畫的筆意技法,並在〈從中國繪畫的表現方法談到油畫中國風〉一文中分項說明國畫中的哪些表現形式可與油畫融合、互通,明確地提供了董希文所理解油畫在展現中國風味時可挪用的技法。所以,它一方面提供了想要往「油畫中國風」方向發展的畫家一些實際的操作原則,另一方面,也提供了一份得以檢視董希文畫風呈現的文本。 本文第一章討論1920、30年代林風眠等西畫美術教育家所提倡的「中西調和」油畫風格,如何形成董希文日後「油畫中國風」論點的基調;第二章主要以董希文50年代的「油畫中國風」呈現手法為依據,企圖論述其在兼顧服膺官方要求藝術品需描繪政治主題的文藝政策,與藏族主題作品的並行路線下,如何捉摸創作出逐漸切合自身期望的中國風油畫的歷程。第三章則以董希文最後創作階段的代表作品——〈喜馬拉雅山頌〉,以及西方十八、十九世紀東方主義的繪畫作品與董希文藏族題材畫作的對照為討論主軸,並討論二十世紀下半葉,大陸美術界對「油畫民族化」的作法與看法。 董希文因為1952年創作的〈開國大典〉揚名全中國,但經由本文的蒐集資料過程發現,一般對董希文的研究資料大多著墨在〈開國大典〉這幅畫形制的宏偉、革命歷史畫題材的氣勢,以及這幅作品由於政治力介入而歷經幾度改畫的過程。而董氏55、62年兩批深入藏區的畫作卻較少受到深入地討論,希望經由本論文的探究,得以將世人對〈開國大典〉的注目移轉至他對結合中西畫風的努力與探索的其他作品上,繼而重新發現和肯定他在政治氛圍外自發性而執著的藝術追求。 The terms of “The Chinese Style of the Oil Painting”proposed by Dong Xi-Wen in 1957 and “Nationalizing the Chinese Oil Painting” brought up by Artists of Mainland China in the middle of the 1950’s have not much difference in terms of essence. Both of terms emphasize that the creation in Chinese oil painting is necessary to stand out the subject of Chinese traditional custom. Dong Xi-Wen who advocates “Chinese style” instead of “Nationalizing” clearly points out the various skills which should be displayed in Chinese painting. He also makes description of which manifestations of Traditional Chinese painting can be blended or integrated in the Oil Painting in “From the Manifestation of Chinese painting to talk The Chinese Style of the Oil Painting” section by section and explicitly demonstrates the painting skills which can be adopted from Traditional Chinese painting in displaying Chinese flavor. Thus, this book provides artists who attempt to go along with “The Chinese Style of the Oil Painting” several principles in practice on one hand, and on the other hand, it also provides them a demonstration of Dong Xi-Wen’s painting style. The first chapter of this thesis describes how the oil painting style of “the harmonization of western and oriental styles” advocated by Lin Feng-Mian in 1920s and 1930s to form the basis of Dong Xi-Wen’s “The Chinese Style of the Oil Painting”. The second chapter elaborates the course of how Dong Xi-Wen created the oil painting which gradually fitted in his expectation, by the presentation of Dong Xi-Wen’s “The Chinese Style of the Oil Painting” His creation was both followed the art policy of politics as the authorities requested and the subject of Tibetans. The focus of third chapter is on the representative pieces in Dong Xi-Wen’s ultimate creation stage《The Song of the Himalayas》, and the comparison of paintings with Eastern doctrine in the 18th and 19th century and Dong Xi-Wen’s works in the subject of Tibetans. The view of “The Chinese Style of the Oil Painting” from artists of Mainland China in the latter half of the 20th century is also discussed in this chapter. Dong Xi-Wen became famous in whole China by means of the work of 《A Grand Ceremony on National Day》 in 1952. It was found that most of research papers focus on the form, the subject of historical revolution, and the course of revision due to political intervention. However, Dong’s paintings in 1955 and 1962 that were completed in Tibet were not thoroughly discussed. It is hope that by means of this thesis, the attention to 《A Grand Ceremony on National Day》 can be transferred to his efforts on integration of eastern and western painting styles and research on other masterpieces. Furthermore, his spontaneous pursuit to Art hopes to be rediscovered and confirmed.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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