林國治繪畫藝術中之現代形式主義美學視野

The Modern Formalist Perspectives of the Paintings of Guo-Zhi Lin

周沛榕(Pei-Yung Chou)

《藝術研究期刊》 11期 (2015/12) Pp. 41-70

摘要

林國治的繪畫題材側重嘉義在地生活的表現，為此其畫作多被歸類於鄉土藝術範疇加以探討。若僅就作品之題材面向，將林國治的繪畫歸類為鄉土藝術確實並無不妥適之處；但是當吾人審視其繪畫表現之形式面向時，卻也可明顯地知覺到其畫作中不容忽視之現代形式主義美學向度，一種不以記錄鄉土生活情節為其表現主旨的純粹審美傾向。筆者認為對於「形式美」之表現不僅是林國治繪畫藝術之重要表現內容，甚至稱之為其繪畫形式的基調亦未嘗不可。因此本文試圖從現代形式主義美學的視角探析林國治的繪畫藝術，並闡明其與現代主義繪畫的關係。

關鍵字

林國治繪畫 ； 形式主義美學 ； 後印象主義繪畫 ； 印象主義繪畫 ； 現代主義 ； 現代繪畫

並列摘要

The subject-matters of Guo-Zhi Lin's paintings chiefly focused on local themes, specifically the local life of Chiayi region. Therefore his paintings are usually classified as local arts. In terms of subject-matters only, his paintings categorized as local art really nothing wrong; but when we investigate the aspects of his art forms, we could obviously perceive the formalist aesthetic attribute of his paintings. A dimension does not emphasis on the rural lifestyles but express painter's purely aesthetic concerns as its keynote. For me, ＂formal beauty＂ is not just the important part but the essential character of Lin's paintings. Therefore through this paper I try to investigate Lin's paintings through modernism formalist viewpoint, and to explain the connections and significances of Lin's paintings and modernist painting.

並列關鍵字

painting of Guo-Zhi Lin ； formalist aesthetics ； Post-Impressionist painting ； Impressionist painting ； modernism ； modern painting