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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/90932

    Title: 魔幻現實情景:蘇旺伸淡水時期繪畫研究;Magical Realistic Scenes: A Study in Su Wong-Shen′s Tamsui-Period Pantings
    Authors: 黃懷義;Huang, Huai-Yi
    Contributors: 藝術學研究所
    Keywords: 蘇旺伸;魔幻現實情景;意象拼湊;淡水;動物;解嚴;Su Wong-Shen;Magical Realistic Scene;imagery collage;Tamsui;animal;lifting of martial law
    Date: 2023-02-02
    Issue Date: 2023-05-09 18:17:57 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 資深畫家蘇旺伸(b.1956)今日為人熟知的「動物」畫風,始於 1988 年。此畫風指畫家在虛幻又實際的時空裡,交織抽象的線條與色面、鄉鎮間的建築物、還有無所不在的動物,且完全都看不到人物的身影,整體傳遞出曖昧的故事性與濃厚的情感氛圍,本文稱之為「魔幻現實情景」。在此之前,有將近十年的時間,其作品是由點狀物、線條與色面構成的抽象形式,顯見風格發生的巨大變化。以往研究試圖以蘇旺伸曾經與目前居住的鄉鎮(新北淡水、高雄左營、台南安平),為漫漫畫風進行分類,卻未詳述二者之間的關係。此外,藉由動物符號的寓意詮釋人類社會,長期主導了作品的觀看方式。


    吸收西方藝術新知,鑽研畫面的空間結構,作品呈現出抽象的風格。接著探討1988 年「魔幻現實情景」誕生的原因,有其時代政治與社會的脈絡。第二章深入蘇旺伸的創作思維,說明「魔幻現實情景」蘊含對形式美感的堅持,並進一步探討「意象拼湊」手法的使用。在作品分析方面,本章首先聚焦在人的主題下,如何透過明顯的動物活動,隱喻人性的種種樣態。第三章則分析在土地主題下,動物與景色間主次關係的異動,老樹、圍牆、祠廟、金爐、古宅等物被頻繁描繪,混合了蘇旺伸成長過程累積的文化與歷史記憶,以及對生活環境變遷的觀感。
    ;The veteran painter Su Wong-Shen (b. 1956, Taiwan) is famous for his “animal styled” paintings. Established in 1988, the style refers to an artistic practice that intertwines naturalistic and abstract representation in a temporal spatial context. The subject matters include fragmentary buildings from the countryside, omnipresent animals, while human beings are notably absent. These characteristics—referred to in this paper as “Magical Realistic Scene,”—resulted in the works’ ambiguous narrative and lyrical atmosphere. Previous to the establishment of this style, the artist painted in an overtly abstract manner for nearly a decade, during which his canvases were generally covered with lines, dots, and color patterns. Thus, Su’s Magical Realistic Scene marks a transitional point in his stylistic development. While past studies were carried out through either biographical or stylistic approach, this paper aims to examine the relationship between the two: how the artist’s living experience, his migration between multiple cities (e.g. Tamsui, Zuoying, and Anping), influenced his stylistic choices. This paper also intends to broaden the past scholarship that predominantly emphasizes the iconographical interpretation of Su’s animal motifs.

    According to Su Wong-Shen’s interview records, his living condition and real-life encounters are crucial to the stylistic features of his paintings. Magical Realistic Scene
    not only represents the real world, it also showcases the artist’s pursuit for formal beauty. Through the technique of “imagery collage,” he transforms scenic views of the places
    he dwells into shapes and colors of his paintings. The temporal-spatial visions presented in his paintings reflect the artist’s tension of navigating between his internal self and the external reality he comprehends. This tension makes his works transcend the singular temporal and spatial definition of certain incidences, and exceed beyond the documentary recordings of culture and everyday life. Tracing the forces behind the birth of his Magical Realistic Scene, this paper emphasizes Su Wong-Shen’s Tamsui period (1988-1998) and how the development of this new style shapes his later works during the Zuoying period (1999-2017) and Anping period (2017- present). The major sources this study rely upon include the four interviews with the artist himself, as well as field and archival research conducted by the author in Tamsui.

    This paper contains three chapters. Chapter one shows Su’s training at the Chinese Culture University, where, inspired by Western art, he studied intensively the spatial iii structures of paintings and began working in abstract style. The chapter also places his Magical Realistic Scene into the historical, political, and social contexts. Chapter two
    explores the artist’s theoretical thinking, his pursuit for formal beauty, and his “imagery collage” method. I focus on the theme of humans and reveal how the actions of animals
    and the overall composition of the works are used by the artist as metaphor for various human natures. Chapter three focuses on the theme of hometown landscape. I analyze
    the change in emphasis from animal to landscape scenery as the artist’s predominant subject matter. Old trees, battered walls, temples, golden incense burners, and historical
    houses frequently appeared on his canvases during this period. The chapter also showcases how these repetitively-painted elements intersect with Su Wong-Shen’s
    cultural background, historical memories, and his reception of the ever-changing temporal-spatial experiences.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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