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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/4846


    Title: 東西的交響—以惠斯勒日本風味油畫作品為例
    Authors: 陳瑞千;Ruei-Chian Chen
    Contributors: 藝術學研究所
    Keywords: 東西交流;日本主義;惠斯勒
    Date: 2006-06-30
    Issue Date: 2009-09-22 09:34:04 (UTC+8)
    Publisher: 國立中央大學圖書館
    Abstract: 論文提要 本篇論文研究十九世紀藝術家,也是日本主義傳播重要的先行者之一詹姆斯˙麥克尼爾˙惠斯勒(James Abbott McNeill Whistler, 1834~1903)的繪畫成就。本論文第一章回歸歷史脈絡去了解日本藝術在十九世紀歐洲的發展與影響。第一節將以日西交流的楔子、東方藝品店、關鍵人物和日本藝術相關活動與展覽四個部分,來探究十九世紀下半葉歐洲發生「日本熱」的原因。第二節則分成兩個階段來討論日本主義的發展與影響,第三小節說明日本主義在英國的發展狀況。 第二章將焦點放在惠斯勒的藝術養成與風格特點的建立,第一節惠斯勒在巴黎和英國時期的學習與交友情形,來了解惠斯勒為何從寫實主義出走,而後親近「為藝術而藝術」的唯美理念緣由。第二節探討惠斯勒藝術綜合性特質的來源;第三節以記憶繪圖法、色彩和諧功力和音樂性標題與畫面中的詩意三部分來標舉出惠斯勒藝術中的特點。 第三章進一歩針對惠斯勒日本風味作品來作分析,第一節將惠斯勒的日本風味作品按照風格變化分成三期。第二節以《綠色與玫瑰色的和諧:音樂室》、《白色交響曲二號:小白色女郎》、《紫色與金色的狂想曲二號:金色屏風》與《紫色與玫瑰色:六標記之前的修長淑媛》四幅作品來作為分析的範例。第三節則以被稱作「六計畫」的油畫草稿與以「夜曲」命名的系列作品為例。 在結論部分,筆者將總結前三章的論述:回答為何日本藝術在十九世紀歐洲能夠引發狂熱,與惠斯勒呈現東西藝術交響的日本風味作品,而作品中的交響是奠基在什麼基礎之上,以及說明不同階段的作品所各自蘊含的意義。筆者在本篇論文的結論希望能夠為惠斯勒的日本風味作品標誌出位置,並說明這樣的位置所代表的意義。 Abstract This thesis is about the painting achievements of James Abbott McNeil Whistler (1834~1903), one of the pioneers of “Japonisme” in the 19th century. In Chapter One, I examine the development and the influence of Japanese Art in Europe in the 19th century through reviewing the history. In order to explore the reasons of “the cult of Japon” of the second half of the19th century in Europe, I divide the first section into four parts, the wedge of the communication of the West and Japan, the shops of the eastern arts, the key persons, as well as the activities and exhibitions of Japanese Arts. In the second section, I study the development and the influence of Japonisme ; and in the third section, I illustrate the development of Japonisme in U.K. In Chapter Two, I focus on the art education of Whistler and the development of his style. Through reviewing his study and his friends in Paris and UK, I try to examine why he left the realism and then tilted toward the concepts of “L’art pour l’art”. Then, I explore the origin of Whistler’s artistic characteristics. In Chapter Three, I will analyze the japoniaiseries works. First, I divide these works into three periods according to the changes of Whistler’s style. For further analyses and illustrations, I examine the four following works : Harmony in Green and Rose :The Music Room, Symphony in White, No.2: The little White Girl, Caprice in Purple and Gold, No.2:The Golden Screen and Purple and Rose: The Lange Leizen of the six Marks, as well as his sketches of so-called “Six Projects” and the series of “Nocturne”. Finally, I conclude why the craze of Japanese Art swept the Europe in the 19th century, and how Whistler created the japoniaiseries works which presented the symphonies of Western and Eastern Arts and on what foundation these symphonies are based, and furthermore, I conclude the meanings of each work in different periods. At last, I would like to try to position Whistler’s japoniaiseries works and explain its significance.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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