「七友畫會」與臺灣畫壇(1950s-1970s)

The Seven Friends Painting Association and Taiwanese Art Circles (1950s-1970s)

邱琳婷(Lin-ting Chiu)

指導教授 ： 陳葆真

共同指導教授 ： 王汎森(Fan-sen Wang)

國立臺灣大學/文學院/藝術史研究所/博士(2011年)

https://doi.org/10.6342/NTU.2011.02430

摘要

本論文主要以1955年於臺北成立的「七友畫會」為討論對象，此畫會的重要性，乃在於其透過中國傳統水墨畫的創作，成功地結合「藝術價值」與「政治事實」之間的互惠性。換言之，「七友畫會」可視為｢價值｣與｢事實｣合一的成功例子。隨著1949年國府的大遷徙，「七友畫會」的七位畫家，或因公職、或因業餘畫家的身份，先後來到臺灣。雖然他們在大陸時並非熟識，但冷戰時期(1950-1970年代)在臺灣的聚合，卻使他們凝聚出一股傳承與延續中國文人畫傳統的使命感。當然，這個文人畫傳統的強調，實與當時國府復興中華傳統的文化政策有關。此政策亦是國府意欲以「文化中國」突顯出其作為「政治中國」正統的代表者。
然而，對於始終處於中國文化邊緣地域，且在國府來臺前受日本統治的臺灣而言，國府的這層用心，則必須面臨到日本殖民文化的挑戰。因此，本論文的第一章，則以國府來臺前，水墨畫在臺灣的發展為主。首先，分析清季時傳入臺灣的中原水墨畫。接著，再探討日治時期，乘著官方美展的優勢而起的東洋畫，及在此局勢之下，逐漸成為民間伏流的水墨畫之特色。此章中，亦會觸及另一個官方美展畫部西洋畫的討論，及其對臺灣本地畫家的影響。從以上討論的基礎，我們發現，1950年代發生在臺灣的「國畫論戰」，實反映出兩個對於「國畫」思考的不同進路。其一為臺灣本地畫家，因著日本殖民經驗的滲透，而以較為曲折的取徑詮釋「國畫」的表現。其二為渡海來臺的大陸畫家，則因受到二十世紀初國畫改革、文人畫復興與政治受挫等歷史記憶的影響，而趨向以較具「權威性」與「現實感」的態度，規範「國畫」的內涵。
接著，本論文的第二章，將以「七友畫會」為例，進一步從此畫會的活動與意義，分析「藝術的價值」如何與「政治的事實」產生互惠的作用。由於「七友畫會」成員與國府高層互動的密切，使得其具有詩書畫合一與筆墨寓意特色的文人畫作品，成為國府文化政策的最佳代言者，甚至足以與中共社會寫實的新國畫相抗衡。然而，值得注意的是，在此種看似融合「藝術價值」與「政治事實」的表現之下，「七友畫會」對於文人畫價值的提倡，尚具有道德寓意與自況的考量。
最後，由於「七友畫會」成員多身兼國府官方美展的評審工作，而作為美展的公共空間，其政治運作的意圖，亦不容忽視。因此，本論文的第三章，即是透過當時兩個重要的官方美展，「中華民國全國美術展覽會」(即「國展」)與「臺灣省全省美術展覽會」(即「省展」)，思索「七友畫會」對臺灣畫壇的影響。當然，臺灣本地畫家在此影響之下的因應之道，亦是本論文分析的焦點。
總之，透過本論文的討論可知，藝術表現的創新，固然有其研究的價值。但藝術表現的傳統，亦有其力抗世變不容小覷的作用，值得深入探討。

關鍵字

七友畫會 ； 臺灣畫壇 ； 文人畫 ； 國展 ； 省展 ； 臺灣美術 ； 中國美術

並列摘要

This dissertation studies the Seven Friends Painting Association established in Taipei in 1955. This painting association is important in that it combined the “artistic value” with “political reality” through the creation of traditional Chinese ink painting. With the withdrawal of KMT Government in 1949, the seven painters of the Association, some were civil servants and some amateur painters, came to Taiwan separately. Though they didn't know each other back in Mainland China, they gathered together during the Cold War Period (1950s-1970s), shaping a shared sense of duty to maintain the tradition of Chinese literati painting. This emphasis on the literati tradition, of course, was closely related to the emphasis of the KMT Government on the cultural policy of reviving the Chinese Tradition. Through this policy of “culturally Chinese,” KMT Government aimed to highlight its own orthodox status of being 'politically Chinese.”
For Taiwan, however, where the land had always been the peripheral for Chinese Culture and was actually under Japanese rule before the arrival of KMT Government, such a policy faced challenges from the Japanese colonial culture. In this light, the first chapter of this study concentrates on the development of ink painting in Taiwan before the KMT Government. Firstly, the chapter analyses the Chinese ink painting that came to Taiwan during the end of Qing dynasty. Secondly, the chapter delineates the rise of Toyo Painting (Japanese painting) through the advantage of Official Artistic Exhibition and the eclipse of Chinese ink painting. This chapter also describes the Western Painting Department of the Official Artistic Exhibition and its influences on Taiwanese painters. On the basis of this discussion, we find that the “debate on the national painting” actually reflects two ways of thinking about the “national painting.” On the one hand, we find that local painters of Taiwan, with their experiences of Japanese colonial rule, developed a more intricate way of interpreting the “national painting.” On the other hand, Chinese painters who came to Taiwan after 1949 were influenced by the historical memory of revolution of Chinese painting in early 20th century, the revival of literati painting, and the political defeat and were therefore showing greater “authoritarian” and “realistic” attitude toward regulating the concept of “national painting.”
The second chapter will describe the activity and significance of the Seven Friends Painting Association and analyse the interaction of “artistic value” and “political reality.” With the close interaction between members of the Seven Friends Painting Association and higher echelons of KMT Government, the Association's production of literati ink paintings, characterized by the unification of poetry, calligraphy, and painting and by the symbolization of brush and ink, becomes the best advocate of the Government's cultural policy and provides the artillery against the “new national painting” of social realism in the People's Republic of China. It is worth noting, however, that under the seemingly combination of “artistic value” and “political reality” the Association's promotion of literati painting is also informed by the members' ethical and personal consideration.
Lastly, this study examines the influence of the Association on Taiwanese painting through the two important governmental artistic exhibitions, namely “the National Art Exhibition of Republic of China” and “the Taiwan Provincial Art Exhibition.” Members of the Association were mostly judges for these governmental artistic exhibitions. These exhibitions, being public arena for art, become important channels for the Association's political intention. Of course, this chapter will also address and focus on how local painters of Taiwan reacted to this influence.
To sum up, the discussion of this study show that the tradition, like the innovation, of artistic performance is an important means to resist the revolution of epoch and provides a rich mine for further researches.

並列關鍵字

Seven Friends Painting Association ； Taiwanese Painting ； Literati Painting ； Provincial Art Exhibition ； National Art Exhibition ； Taiwanese Art ； Chinese Art.

參考文獻

------，〈近代知識分子自我形象的轉變〉，《中國近代思想與學術的系譜》(臺北︰聯經出版社，2003)，頁275-302。

朱靜華，〈溥心畬繪畫風格的繼承〉，《張大千溥心畬詩書畫學術討論會論文集》(臺北︰國立故宮

呂紹理，《展示臺灣：權力、空間與殖民統治的形象表述》(臺北：麥田出版，2005)。

林振莖，〈傅狷夫對臺灣戰後「官辦美展」評審影響力之研究—以「全省美展」與「全國美展」

郁永河，《裨海紀遊》(臺灣銀行經濟硏究室編，臺北市︰臺灣銀行，1959)。