| 摘要: | 淡水觀音山自清代起即為著名的風景勝地，曾為八景之一。日治時期觀音山亦與淡水港合作「淡水」一地，具有臺灣新八景的內涵。日治時期的淡水風景圖像與繪畫中，觀音山經常被作為題材。戰後畫家們持續發展這個題材，他們以不同的表現方式創作觀音山風景系列，並從中探討了許多繪畫問題。
本文以觀音山為主題，探討戰前觀音山圖像與戰後觀音山風景畫的發展。內容由兩大方向著手：一、淡水觀音山題材的演變；二、日治時期前輩畫家與紀元畫會畫家戰後的觀音山系列作。
本論文包含三大章節。第一章探討觀音山的圖像概念與視覺建構，回溯觀音山從清代至日治時期作為八景的題材內涵。第二、三章各自分別以三位畫家為例，進行戰後觀音山風景畫的討論。第二章例舉廖繼春（1902–1976）、郭柏川（1901–1974）、陳慧坤（1907–2011）三位從日治時期過渡到戰後的前輩畫家。第三章則以陳德旺（1910–1984）、廖德政（1920–）、金潤作（1922–1983）三位戰後興起的紀元畫會畫家為例。兩組成員在繪畫養成與畫壇定位等方面皆有相似的背景，戰後他們都同樣創作了豐富的觀音山畫作。本文以此二組成員進行對照，討論戰後畫家們如何表現觀音山，以及他們藉由這個題材想探討什麼繪畫問題？藉此，筆者試圖從中體察觀音山母題的演變，以及時代性的差異，進而為臺灣美術史發展中的觀音山風景畫進行定位。
;Danshui’s Guanyin Mountain (淡水觀音山) was renowned for its natural beauty and considered one of the “Eight Views” (八景) as early as in Qing dynasty. During the Japanese occupation, Guanyin Mountain and Danshui Harbour together made up the area known as “Danshui”, and were referred to as “Taiwan’s New Eight Views” (臺灣新八景). Images of Guanyin Mountain often appeared in photographs, postcards and paintings of the Japanese colonial period. Even after WWII, Guanyin Mountain continued to attract artistic attention, as many artists developed variations on the theme, using it to explore different artistic problems and to practice modern painting techniques.
This thesis investigates Guanyin Mountain as the subject of landscape paintings and explores its visual development from before to after WWII. It covers the evolution of Guanyin Mountain as a subject, with a focus on well known Taiwanese artists during the Japanese colonisation, as well as post-war works from the Chi-Yuan Painting Society (紀元畫會).
This paper consists of three parts. In the first, it investigates the visual concepts and constructions found in images of the Guanyin Mountain, looking back at the significance of its inclusion in the “Eight Views”, from the Qing dynasty through to the Japanese occupation. Chapter two and three, on the other hand, each examines three painters and their respective perceptions of the mountain. More specifically, chapter two looks at three artists of the colonial period—Liao Jichun (廖繼春, 1902-1976), Guo Bochuan (郭柏川, 1901-1974) and Chen Huikun (陳慧坤, 1907-2011); while chapter three discusses three painters from the post-war Chi-Yuan Painting Society—Chen Dewang (陳德旺, 1910-1984), Liao Dezheng (廖德政, 1920- ) and Jin Runzuo (金潤作, 1922-1983). Both groups shared similar educational and artistic backgrounds, and produced an abundance of images of the Guanyin Mountain. This thesis compares the two and their works, how they expressed their perceptions of the landscape and what artistic problems they were trying to tackle, thereby unpicking the developments in the motif, observing how the artistic viewpoint changed from one era to the other, and identifying the role of Guanyin Mountain in Taiwanese art history. |
