高雄地區畫會發展之研究－從日治時期至八○年代

高雄是台灣第二大都市，地處台灣西南隅。早年僅是移民社會的漁村港口，鮮有文人雅集類的聚會活動。一八九五年日本佔領台灣，日本人積極實施新政策，替台灣帶來了新美術教育。在官方舉辦的「台展」、「府展」的影響下，美術推展迅速，畫家地位上升，帶動起各地畫家籌組畫會、舉辦展覽的風氣，日治時期的高雄亦不例外，由日本人山田新吉所組織的「白日畫會」成員之泛印象作品，成為代表高雄日治時期的美術風格。　　一九四五年，第二次世界大戰結束，高雄地區的美術呈現一片空窗的空白時期，由日返台並搬遷來高雄的劉啟祥就成為主導領航者，並在一九五二年成立了戰後第一個畫會「高雄美術研究會」，以及一九六一年成立的「南部美術協會」，帶動起高雄的現代美術。　　高雄由於起步較台北晚了許多，也沒有學院式的美術教育，抽象藝術在六○年代末，在詩人畫家朱沉冬的南下才開始嶄露曙光，並發展於七○年代，這是個新舊相混的年代，此時由新生代所組織的畫會已然增多，有一九六八年成立的「南部現代美術會」、一九七四年組成的「心象畫會」、一九七九年的「午馬畫會」，成為開拓更新的藝術思潮的角色。　　一九八○年成立的「南部藝術家聯盟」，銜接七○年代末至八○年代初的南部畫壇，但持續不久，即由一九八二年的所組的高雄當地團體「夔藝術」，繼續延續高雄畫壇活動。到了一九八七年，台灣解嚴，政治與社會體制變革的叛逆時代來臨，遊行、集會等社會運動蓬勃興盛。高雄第一個官方認可的現代繪畫團體──「高雄市現代畫學會」創立。有別於以往畫家單純的民間結社，它透過社會來參與大環境的互動，以創作、論述、刊物等群體組織的架勢出擊，推廣美術教育並協助政府的藝文政策，逐漸型塑出南方高雄的文化地位。　　從日治時代的「白日畫會」，戰後五Ｏ年代的「高雄美術研究會」，至八Ｏ年代末的「高雄市現代畫學會」，這段期間成立的畫會數量並不多，其中組成的成員大都是有本業的業餘畫家，但高雄美術也藉由畫會的不斷延續與對在地的關懷，逐漸堆疊出高雄在地美術主體的厚度。其中八○年代的高雄畫會影響高雄現代美術運動的萌生，成為催生九○年代之後高雄美術主體的搖籃。　　本文以文獻分析法，就「西潮影響下的西畫美術」為研究範疇，來窺看日治時期至八○年代期間成立於高雄地區的「畫會」組織活動，藉此瞭解高雄現代美術運動的軌跡。

關鍵字

高雄現代美術,高雄畫會,日治時代美術,高雄美術史

並列摘要

Kaohsiung, located in South-western Taiwan, is the second metropolis in Taiwan. In its early history, it was only a fishing village where migration lived. There was seldom literate gathering. In 1895, Japanese took over Taiwan as its colony. After that, Japanese actively implemented their new policies over the island, and at the same time brought the new fine art education to Taiwanese. Influenced by the official exhibitions such as “Taiwan Fine Art Exhibition” and “Taiwan Government Fine Art Exhibition,” the fine art was widely promoted promptly, which made the artists’ social position higher. Thus, the artists in different areas started to organize art group and hold exhibitions. Kaohsiung was no exception. The pan-impressionism works of the members of Bai-rih Art Group (白日畫會) that organized by the Japanese, Shinkichi Yamada became the typical style of fine art in Japanese occupation Kaohsiung. In 1945, World War II ended. By this time, the fine art in Kaohsiung area became blank. In 1952, Liu Chi-hsiang who just returned Taiwan from Japan, moved to Kaohsiung, and became the leader, who founded the first art group after WWII –namely, Kaohsiung Fine Art Institute. He also founded Southern Taiwan Fine Arts Association in 1961. Both of the two art groups became the propeller of the modern fine art in Kaohsiung. 　　Due to the late start of fine art, compared with Taipei, as well as lack of institutional fine art education, the abstract art in Kaohsiung was dawned by the poet painter Jhu, Chen-dong’s residence and developed in 1970s, when the art group sprouted. By this time the newly organized art group by new generation already became more and more, such as Southern Modern Fine Art Group in 1968, Sin Siang Art Group (心象畫會) in 1974, and Wu Ma Art Group (午馬畫會) in 1979. These art groups act as the role of the pioneers of new movement in fine art in the next decades. 　　 Founded in 1980, Southern Artist Union linked the painters during the late 1970s with the beginning of 1980s in Southern Taiwan. But it didn’t last long and it was taken over by Kuei Art(夔藝術), a local group organized in 1982. By 1987, Martial Law was lifted and that’s meant a time of political and society structural revolution was coming. The demonstration and gathering were thrived. At this time the first official recognized modern painting group Kaohsiung City Modern Painting Association (高雄市現代畫學會) was founded. Different from those groups simply formed by painters, this art group used its creation, discourse, and publications to promote fine art education as well as fine art policy made by the government. Gradually, it has established Kaohsiung’s cultural position in Southern Taiwan. From Bai-rih Art Group in Japanese occupation period, the post-war 1950s Kaohsiung Fine Art Institute, to the late 1980s Kaohsiung City Modern Painting Association, over these years, the quantity of newly-founded art groups was not many. Most of the members of these newly-founded art groups were amateur painters. But the subjectivity of Kaohsiung fine art is gradually forged by the art groups’ continuity and their concern to the local. Among all of this, Kaohsiung City Modern Painting Association in 1980s contributed to the modern fine art campaign in Kaohsiung and it became the cradle of the subjectivity of Kaohsiung fine art in the 1990s. This study uses documentary analysis method to focus on the western painting fine arts influenced by western influx and observe “the art group” activities in Kaohsiung area from Japanese occupation period to 1980s to understand the trace of modern fine art activities in Kaohsiung area.