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n the different territory, the value of “local geography and history” and “ idol (a typical character)” is to be make by molding. As one part of culture, art could not be avoided. The statement that Wang Pen Yuan is the representative of Yi-Lan senior painter (who worked in that field earlier) was a tangible testimony. He was born in Jiang-Su, and then had learned artistry of oil painting, aquarelle, sketch, and traditional Chinese painting in Shan-Hai. His background were very different from those who be called “Taiwan Senior Painter(predecessor)”. This is one point of this discourse. And the second is that he spent most of his life time in Yi-Lan city but he is not a genre painter. He had taught in Luo-dong high school during 1952 to 1971, and after retirement, he still paints oil painting, aquarelle, and traditional Chinese painting in YI-Lan. But when we inspect the subject matter and style of his paintings, we could not find the connection to Yi-Lan. So that this discouese presume that identify Wang Pen Yuan with Yi-Lan senior painter must to be adjust in concept of the most people. And after all, the process of how Wang Pen Yuan become the representative of Yi-Lan senior painter maybe also be make by molding intentionally.
By sorting and comparing the bio-bibliography and the work of Wang Pen Yuan, I reconstruct the art environment of Shan-Hai, Yi-Lan and Taiwan in 1930’s, 1960’s and 1980’s. Moreover, by studying and investigating the relevant journals, biographies and document records, this discourse tries to describe and decipherment the process of how Wang Pen Yuan become the representative of Yi-Lan senior painter. | en_US |