| 摘要: | 日治時期（1895-1945）的特殊文化背景之下，從日本輾轉傳入的西方繪畫藝術，再與固有的東方思想與藝術融合後，除了，形成所謂具有臺灣特殊地域風貌的藝術特色，也產生特殊創作主題。此時期的臺灣畫家喜以淡水作為描繪的對象，當我們面對這些作品時，可察覺到淡水對於臺灣前輩畫家們有其特殊時代性意義。在日治時期以前少有明確地描繪淡水的風景畫，到此時期卻成為臺灣人和日本人爭相描繪的特殊景色，甚至到戰後，生長於日治時期的前輩畫家再度以此題材作為創作。因此，本文擬從淡水題材來探討，包括：清領時代淡水相關的紀載；到日治時期淡水作品的大量出現；甚至到之後的階段仍然有不少以淡水為題材的作品。因此，筆者著重於探討日治時期淡水題材的研究。
筆者從生長於此年代的前輩畫家之淡水作品，尤其探討隱藏在其背後的美術觀念、創作思維、創作技法和媒材等；循此釐清題材為何出現之源由，及延續至今的原因。首要以日治時期的時代背景和社會環境因素為探討：一是以對於淡水早期文人筆下歌詠的對象，及出現於地方誌上的記載；二是以日治時代淡水政治氛圍的陳述，包含教育制度、宣導以及形成以觀音山的「富士山」移情效應；三是分析生長於此時期的前輩畫家，及比較其他的淡水作品。最後依照日治時期及之後的階段對這些淡水作品作分析，並說明各自所代表的繪畫風格之特色，進而帶出現今的淡水作品已轉變成多媒材裝置藝術的形式，以此說明這些創作者與其作品的影響力和淡水題材可跨越一世紀並發揚光大。
Under the Japanese-Occupied Period (1895-1945) of special cultural background, the Western painting arts after being transferred from Japan and then integrated with the inherent Eastern thought and art, in addition forming the so-called art features with Taiwan’s special geographical style, they also produced special creative theme. In this period, Taiwanese painters were fond of taking Danshui as the depicted object. When facing these works, we can perceive Danshui has its special significance for Taiwanese senior painters. Before Japanese-Occupied Period, there was few landscape paintings clearly depicting Danshui; however, in this period it became a special scene which Taiwanese and Japanese eager to depict, and even after the war, the senior painters grown in the Japanese-Occupied Period created with this theme again. Therefore, this thesis intends to explore from Danshui theme, including from the related records in Danshui governed by Qing Dynasty to a large number works about Danshui appeared in Japanese-Occupied Period, even there were still a lot of work with the theme of Danshui after the war. Therefore, the author focuses on discussion of use of Danshui-related theme during Japanese-Occupied Period.
The author explores the Danshui works created by the senior painters grown in this period, particularly from which the concept of art, creative thinking, creative techniques and mediums hidden, and in this manner to clarify the reason why the theme appeared and continued to this day. The historical background and social environment of Japanese-Occupied Period are the factors to explore primarily: First, the objects sung by early literati in Danshui, and the records appeared on the local history; second, the statement on the political atmosphere of Danshui in Japanese-Occupied Period, including education system, advocacy, and government-run competition system, and then the “Fuji Mountain” empathy effect of Guanyin mountain. Third, the senior painters grown in this period is analyzed and in comparison with other Japanese painters’ Danshui works. Finally, those Danshui works by Japanese-Occupied Period and the stage after that are analyzed, and their respectively represented ideology and the characteristics of painting style are described to bring out today's Danshui works which have been transformed into a form of multi-media installation art, in order to illustrate the influence of these works and their creators, and the Danshui themes can span a century and flourish. |
