本論文分為三章論述。第一章介紹關良的生平，以及對戲曲之結緣，其中也包含了早期的西畫創作。第二章則是針對蓋叫天的生平、藝術想法做探討。蓋叫天在上海京劇戲曲上的創新和獨到見解，像是針對角色做細膩的性格刻劃、突破傳統的表演方式、對藝術有著堅持，更使武戲文唱成為蓋派重要特色之一。第三章則探討關良戲曲人物畫與蓋叫天武戲之相似處，藉由蓋叫天對於表演劇目的解讀，能發現更多細節，是與關良戲曲人物畫有所關聯。藉由關良戲曲人物畫與蓋叫天之武戲，能看見藝術透過不同方式，仍可表達相同的藝術精神。 ;In 20th century, Shanghai was the hub of western and eastern culture, no matter in the art field and the drama field. During this period, the numerous creative ideas were implemented on paintings and Chinese opera which facilitated the diverse appearance of the same topic displayed by the different artistic expression form.
The main purpose of this thesis is to investigate the connection between the painting of Chinese opera painted by Guan Liang and the wusheng roles of Shanghai’s Peking opera performed by Gai Jiaotian. The paintings of Chinese opera painted by Guan are influenced by the wusheng roles, such as Wu Song in Outlaws of the Marsh (Shui Hu Zhuan), Sun Wu Kong in Journey to the West (Xi You Ji), and Shi Wen Gong in Outlaws of the Marsh (Shui Hu Zhuan), performed by Gai. Moreover, Guan and Gai have many same concepts in the artistic perception.
This thesis has three chapters. Chapter 1 introduces Guan Liang’ life story, including the childhood, the study abroad in Japan, the teaching of Western paintings, and the preliminary understanding of Chinese opera. Chapter 2 introduces Gai Jiaotian’s life story and investigates the concepts of arts which are proposed by Gai. Gai provided some insightful views on Shanghai’s Peking opera, such as the unique and delicate creation of wusheng roles, the break-through in traditional performing, and the persistence of art. Chapter 3 investigates the similar between the painting of Chinese opera painted by Guan and the wusheng opera performed by Gai. Through the repertoire of the wusheng opera performed by Gai, there are many connections with the painting of Chinese opera painted by Guan. Guan and Gai express the same artistic spirit through the different artistic expression form.
