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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4844


    Title: 宜蘭老畫家王攀元;Wang Pen Yuan,the representative of senior painter in Yi-Lan
    Authors: 張育雯;Yu-Wen Chang
    Contributors: 藝術學研究所
    Keywords: 王攀元;宜蘭前輩畫家;Wang Pen Yuan;Yi-Lan senior painter
    Date: 2006-06-27
    Issue Date: 2009-09-22 09:34:01 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 代表「鄉土」的「偶像(範型)」在不同場域當中被塑造著,身為文化環節的美術並無法置身事外。「宜蘭老畫家王攀元」可說是見證的最佳範例。出生於江蘇、美術養成於上海的背景,與一般概念中的台灣前輩畫家並不相同;在宜蘭執美術教鞭與退休潛居的歷程,與一般描繪地方鄉土特色的鄉土畫家概念也不盡相似。這樣的特殊性在呈現研究對象資料的歷程中,凸顯的是價值認同的轉化以及藝術家型塑的過程。 「鄉土」懷舊的緩慢與「建設」構築的快速其實是現代生活一體兩面、同時發生的現實,而這樣極端混和的速度感,造成的是人們總在快速的步調中解讀緩慢的回憶與故往,並因而保有距離的朦朧美感,因而對真實衍生出許多似似而非的版本。被轉換成文字的回憶便納入文字系統的運作當中,也讓塑造有機可乘。 本文將藉由整理王攀元的生平資料與作品圖錄,呈現1930年代、1960年代、1980年代的上海、宜蘭、台灣的美術環境,同時再藉由1960年代以來研究對象相關的期刊雜誌或傳記專文,試圖解讀呈現藝術家被塑造的過程。 I n the different territory, the value of “local geography and history” and “ idol (a typical character)” is to be make by molding. As one part of culture, art could not be avoided. The statement that Wang Pen Yuan is the representative of Yi-Lan senior painter (who worked in that field earlier) was a tangible testimony. He was born in Jiang-Su, and then had learned artistry of oil painting, aquarelle, sketch, and traditional Chinese painting in Shan-Hai. His background were very different from those who be called “Taiwan Senior Painter(predecessor)”. This is one point of this discourse. And the second is that he spent most of his life time in Yi-Lan city but he is not a genre painter. He had taught in Luo-dong high school during 1952 to 1971, and after retirement, he still paints oil painting, aquarelle, and traditional Chinese painting in YI-Lan. But when we inspect the subject matter and style of his paintings, we could not find the connection to Yi-Lan. So that this discouese presume that identify Wang Pen Yuan with Yi-Lan senior painter must to be adjust in concept of the most people. And after all, the process of how Wang Pen Yuan become the representative of Yi-Lan senior painter maybe also be make by molding intentionally. By sorting and comparing the bio-bibliography and the work of Wang Pen Yuan, I reconstruct the art environment of Shan-Hai, Yi-Lan and Taiwan in 1930’s, 1960’s and 1980’s. Moreover, by studying and investigating the relevant journals, biographies and document records, this discourse tries to describe and decipherment the process of how Wang Pen Yuan become the representative of Yi-Lan senior painter.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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