郭柏川北京時期（1937-1948）的藝術活動與繪畫風格研究

郭柏川（1901-1974）為台灣第一代赴日習畫的油畫家，並先後以東京、北京、台南三個城市為創作據點。其中，他的繪畫風格在北京時經歷轉型，是奠定其「紙上油彩」獨特作風的重要時期。但郭柏川滯留北京的時間與日軍佔領北京的時期重疊，其經歷在戒嚴時期較為敏感，故過去研究較少著墨於此關鍵時期。本文試圖透過報刊雜誌、日記等文獻材料，重建郭柏川自1937年至1948年在北京的經歷細節，以提供更多研究郭柏川畫業的線索。　　本文梳理郭柏川在北京的經歷，指出其得以在北京藝專任教，與日軍佔領北京後當地人才的空缺息息相關。本文將郭柏川在北京的藝術活動以1943年為界，分為前後兩個時期。前期他不諳北京話，與日本、台灣人社群關係緊密，而日軍統治的文化政策也獎勵西畫在北京的發展；後期郭氏以「中國人」的身分組成中國新興美術會，並以創作能回應中國畫壇需求的新興美術為目標。　　最後本文嘗試分析郭柏川北京時期繪畫的風格及轉變，如何回應日本、中國兩地近代美術的脈絡。透過將郭氏作品與影響其至深的岡田三郎助（1869-1939）、梅原龍三郎（1888-1986）的風格比較，本文指出郭柏川對「東方特質」表現和以宣紙作畫的嘗試，皆能從昭和初期的日本洋畫壇潮流中找到聯繫。此外，郭柏川學習在中國被高度評價的梵谷風格，回應中國畫壇對於「東方特質」的重視和鑑賞觀。中國觀眾也以具「國畫用筆」的眼光鑑賞郭柏川的繪畫，其評價延續並影響了後來台灣畫壇對郭氏風格的理解和定位。綜上所述，北京時期的郭柏川歷經風格上的轉型，在北京畫壇的活動與評價也對其畫業影響重大，是理解郭柏川畫業不可忽視的關鍵時期。

關鍵字

郭柏川；日本佔領下北京；北京藝專；興亞思想；後印象派

並列摘要

Kuo Po-Chuan (1901-1974) was one of the first generation of Taiwanese painter studied western-style oil painting in Japan, and had lived in Tokyo, Beijing and Tainan for over ten years each. He tried applying oil paint to rice paper and developed a new art style during Beijing, which became his iconic style. Beijing period was a turning point of Kuo’s career. Since Kuo lived under the Japanese occupation of Beijing during the second Sino-Japanese War, a sensitive issue in the period of martial law in Taiwan, very few looked into this important period. This thesis endeavor to reconstruct Kuo’s days in Beijing (1937-1948) based on textual materials such as newspaper and diaries in order to offer more hint to understand Kuo’s career. This thesis pointed out that Kuo’s employment as a teacher of National Beijing Art School benefited from the population loss after the Japanese army occupied Beijing in 1937. Also, this thesis categorized Kuo’s Beijing period by his art activities into two stages. In the early stage of Beijing Period, Kuo built a close connection with Japanese and Taiwanese community. The cultural policy of the North China Political Council intended to promote western-style painting in Beijing as well. In the later stage, Kuo organized Chinese Modern Art Association with only “pure Chinese Member” claiming to create modern arts suited Chinese society’s needs. In the end, the thesis analyzed Kuo’s art style of Beijing Period and how he responded the context of modern art in Japan and China. By comparing Kuo’s style with Saburōsuke Okada (1869-1939) and Ryuzaburō Umehara’s (1888-1986), it was notable that Kuo’s concern of “oriental quality” and the experiment on rice paper originated from the modern Japanese art of the early Shōwa era. He also through learning from Vincent van Gogh (1853-1890), which was widely admired at the time, to respond the tendency of valuing “oriental quality” in China. Chinese audience found Chinese-painting-like brushstrokes in Kuo’s work, and their standpoint influenced the understanding of his style in Taiwan later.