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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/84436


    Title: 光影的畫意與寫實—以民國時期的華社與黑白影社為例;Pictorialism and Realism in Photography: A Study on the China Photographic Study Society and the Black & White Photographic Society
    Authors: 冷庭蓁;Leng, Ting-Chen
    Contributors: 藝術學研究所
    Keywords: 二十世紀美術攝影;華社;黑白影社;畫意攝影;寫實主義;現代攝影;twenty-century art photography;the China Photographic Study Society;the Black & White Photographic Society;pictorialism;realism;modern photography
    Date: 2020-07-29
    Issue Date: 2020-09-02 19:47:23 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 攝影術於1839年發明問世,不久後便因戰爭和貿易的關係傳入中國,然而中國不像西方很快地開始探討關於攝影的藝術性,而是經歷了一段磨合、學習與接受的過程。在中國的美術攝影直到1919年北京光社(簡稱光社)的成立後才有系統性的研究美術攝影,但後來光社因政治因素導致成員南下,社團活動逐漸停擺,促使研究美術攝影的重心轉往上海發展。

    當時的上海充滿著各式新穎的事物,攝影器材十分充足,然而專門的攝影社團與雜誌仍然不多,使業餘的攝影家們齊聚一堂,創立新的攝影社團。1928年中華攝影學社(簡稱華社)與1930年黑白影社的成立,為美術攝影帶來了新的活力,兩個攝影社團活動時間相近,皆有出版雜誌和舉辦展覽,在當時具有指標性和影響力。因此本文將著重兩個社團的背景、活動和作品風格來分析當時美術攝影的美學風格和創作理念。

    本論文將分三章論述,第一章先梳理華社與黑白影社成立之前攝影的歷史脈絡,並探討光社對美術攝影的影響和當時上海美術攝影的發展情況。第二章與第三章分別聚焦在華社與黑白影社的創立、宗旨和成員等背景,了解其社團的運作模式,並分析其出版刊物的作品風格,透過兩社的參照與對比探究美術攝影在傳統畫意與現代寫實之間的選取與運用。
    ;Photography was invented in 1839, and soon after it was introduced to China due to war and trade. However, unlike the West, China didn’t quickly discuss the art of photography, it went gone through a period of running-in, learning and acceptance. In 1919, after the establishment of the Beijing Light Society(Guanghse), there was a systematic study of art photography. Nevertheless, members of Guanghse moved south because of political factors, and the activities of the society gradually stopped, which prompted the development of art photography in Shanghai

    During that time, Although Shanghai had abundant photographic equipment, there were few specialized photographic societies and magazines, which encouraged amateur photographers to get together and create new photographic societies. The establishment of the China Photographic Study Society(Huashe)in 1928 and the Black & White Photographic Society(Heibai Yingshe) in 1930 brought new vitality to art photography. The two photography clubs were indicative and influential, both of them published magazines, held exhibitions and had similar activities. Therefore, this thesis will focus on the background and work styles to analyze the aesthetic style and creative concept of art photography.

    Chapter one clarifies the history of photography before the establishment of Huashe and Heibai Yingshe, and discusses the influence of Guanghse and the development of art photography in Shanghai. Chapter two and Chapter three respectively explore the backgrounds of the establishment, purpose and membership of Huashe and Heibai Yingshe, and analyze the styles of their publications. Through the comparison between the two societies to explore the application of the art photography in traditional pictorialism and modern realism.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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