日治時期赴中國之臺灣洋畫家－以劉錦堂、陳澄波為例;Taiwanese oil painters in China during the Japanese colonial period－Liu Chin-tang, Chen Cheng-po

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Title:	日治時期赴中國之臺灣洋畫家－以劉錦堂、陳澄波為例;Taiwanese oil painters in China during the Japanese colonial period－Liu Chin-tang, Chen Cheng-po
Authors:	張玉萱;Chang,Yu-Hsuan
Contributors:	藝術學研究所
Keywords:	劉錦堂;陳澄波;日治時期;臺灣洋畫家;中國;Taiwanese oil painters;China;Japanese colonial period;Chen Cheng-po;Liu Chin-tang
Date:	2012-07-19
Issue Date:	2012-09-11 17:55:03 (UTC+8)
Publisher:	國立中央大學
Abstract:	日治時期臺灣洋畫家劉錦堂（1894-1937）與陳澄波（1895-1947），於1920至1930年代間赴中國擔任美術教職。生於日治時期之臺灣的他們，成長於日語文化與漢文化並存的社會，當他們赴東京美術學校留學，以接受更完善的美術教育時，他們見到日本畫家對中國書畫的尊崇與喜好。當他們畢業後前往中國，不僅是出於對中國文化的仰慕，更是為了藝術與文化上的追求。當劉錦堂與陳澄波於中國發展時，在與中國、日本、臺灣的關係上呈現複雜的認同。劉錦堂成為中國政治家的養子，參與中國政治和抗日活動，旅居中國十七年期間僅以中國官員身份返臺一次；陳澄波則以福建為籍貫來到上海，旅滬四年期間亦積極參中、日、臺的藝術展演。他們的身份隨著中日政治關係而轉變，他們皆於1920年代時代表中國赴日，促進中日之間的文化交流；但當1930年代中日關係交惡時，他們感受到中國對日人與臺灣人的敵意，陳澄波回到臺灣，在中國的劉錦堂則以圖畫來籲求中國重視臺灣。而在繪畫方面，劉錦堂與陳澄波在旅居中國期間，皆積極與當地的畫家交流，並參與全國美展等藝術展演活動。他們與當時許多東方的洋畫家一樣，致力於融合中西繪畫，在西方後印象派與中國書畫之間尋求中西繪畫的共同點，從重視色塊，轉而強調線條的運用。他們皆在傳統文化中發展新的表現方式，將傳統中國書畫的技法融入西方洋畫當中。During the Japanese colonial period, Taiwanese oil painters Liu Chin-Tang（1894-1937） and Chen Cheng-Po（1895-1947） went to China as art teachers in the 1920s-1930s. Born and raised during Japanese colonization of Taiwan, they lived in a world of Chinese culture in parallel with that of Japanese-language culture. When they studies in Tokyo School of Fine Arts in order to gain access to the most advanced cultures, they witnessed the respect esteemed Japanese artists paid to Chinese painting. After graduation, they both went to China, not only for the longing for Chinese culture, but also for their artistic pursuit. While Liu and Chen worked in China, they showed complexity of identities in the relations between Taiwan, China and Japan. Liu was a foster son of a Chinese politician, he participated in China politics and involved in anti-Japanese activity. During his stay in China for 17 years, he only visited Taiwan once as a Chinese politician. Chen used Fujian province as a place of origin, during his stay in Shanghai for 4 years, he was active in artistic events in China, Japan and Taiwan. Their identities shifted in the China and Japan political relationship, both of them visited to Japan on behalf of Chinese government in 1920s, serving as a bridge for the cultural exchanges between China and Japan. However, when violence broke out between China and Japan during the 1930s, they felt China's hostility against Japanese and Taiwanese. Chen returned to Taiwan as a Japanese citizen, and Liu stayed in China, used painting to ask China to treat Taiwanese as Chinese, not Japanese. During their stay in China, Liu and Chen both worked hard to fit in the circle of local artists, and they participated in artistic events such as National Art Exhibition. Like other Eastern oil painters, they tried to fuse the East and West painting and find similarities between concepts in Western Post-Impressionism and Chinese painting. They emphasized the expression of lines, shifting toward expressing images with lines rather than color patches. Both of them devoted to discovering a contemporary style from traditional roots, fusing traditional Chinese paintings techniques and themes with Western form.
Appears in Collections:	[Graduate Institute of Art Studies] Electronic Thesis & Dissertation

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