重返「當下」的美學思路：日治時期台灣西洋繪畫教育與現代性之開展

The Aesthetic Ideas of Returning to the "Present": Development of Western Painting Education and Modernity in Taiwan during the Japanese Colonial Period

陳美靜(Mei-Ching Chen)

《遠東通識學報》 7卷1期 (2013/01) Pp. 85-111

摘要

2012年北師美術館以呈現台灣近代美術史為主題之《序曲展》，作為開館的首檔展覽，展示日治時期台、日籍畫家的作品。本次展覽藉由與東京美術學校的空間串聯，築起當年台籍畫家之美術活動參與和創作風格表現，正如策展人所述：它並非從歷史的「後設」角度出發，而是試圖回到歷史發生的「當下」。其中，日籍美術教師對於台籍畫家創作命題的影響與擴延，自是探究日治時期台灣繪畫風格時需要重新再予以探究、思考並進而重新定位的一個重要命題。本文以《序曲展》中的畫家及其藝術活動作為藝術生態和師承延展的核心材料，探討日治時期台灣畫家在受教於日籍畫家的情境下，如何承啟來自西方繪畫的藝術脈絡，進而形成台灣早期美術的風格表現。也因此，「當下」成為一種解讀日治時期台灣美術史的座標位置，提供美術史研究有機會重新進入一個重返情境的時空脈絡，關照且更貼近創作者的思維。

關鍵字

《序曲展》 ； 當下 ； 折射的現代性 ； 日治時期

並列摘要

2012 the Museum of National Taipei University of Education (MoNTUE) held the special opening exhibition and name it as ”Overture”. The major display included Taiwanese and Japanese painter' s works, and through the Tokyo School of Fine Arts to connect and construct the Taiwanese painter's art activities and creative style performance which about ”present”. As the curator said: it is not starting from the history of ”meta”, but try to back to the history occurred ”right now”. The important proposition in this period was Japanese art teacher how to effect Taiwanese painter and help them to create Taiwanese style of painting. The study depends on the materials and words of exhibiton of ”Overture”, try to investiage Taiwanese painters how to form theirs style and undertake the art context of Western painting when they educated by Japanese art teacher. Therefore, the ”present” became a coordinate which could help art history studies have opportunity to interpret Taiwanese art history, and provided a new choice to return to the context of the Japanese colonial period, let us to press close to the creator's ideas.

並列關鍵字

"Overture" ； present ； refracted modernity ； Japanese colonial period