台灣戰後初期女畫家風格之研究

An Inquiry into the Picture Style of Taiwan Women Artists in Early Post-War

徐惠倫(HSU HUI LUN)

指導教授 ： 潘襎

國立臺灣師範大學/藝術學院/美術學系/碩士(2006年)

摘要

二次戰結束後，國民政府撤退來台的第一代畫家，仍秉持傳統中國水墨之精神，與本土畫家間因雙方歷史上的疏離與敏感關係造成文化上的衝突。由於戰後「女畫家」本就屬稀有，於台灣戰後任教高等院校者更為稀有。戰後國民政府成立今台師大美術系，成為全國指標性之美術院校，影響台灣美術發展數十載。故本研究主要以近代任教於師範大學美術系中的女性畫家為主要探討之對象，以油畫風景代表之袁樞真、寫實主義代表之孫多慈、文人畫創作之吳詠香，與水墨人物畫之梁秀中等四位女性畫家為主。
除卻第一章為本論文之緒論，內容方面分為三個大主題：第二章傳統與東洋形式的弔詭方面，探討戰後一九四九至一九七○約莫二十年的時間內，國內外之重大事件對藝文界所造成之衝擊，如二二八事件後的白色恐怖，令六○年代的知識份子展開虛無主義之創作，繪畫主流除了傳統文人水墨，抽象繪畫逐漸興起。第三章東西方表現的衝突與內化—繼承傳統與延續的矛盾方面，分別就四位女畫家個別的繪畫創作進行分類比較，其創作與當時政治氛圍之下所形成的主流意識密不可分，並依據作品與文獻分析，提出四人之藝術貢獻：如吳詠香將北宗畫法根植於師大美術，是繼其師溥心畬之後，承繼傳統為最之國畫家。袁樞真將中國傳統文人思維與西洋油畫結合，和代表中大藝術系寫實主義風格的孫多慈，為戰後台灣畫壇開啟特殊風格。梁秀中將提升水墨人物畫之地位，帶動台師大鄉土人物創作之風氣。第四章傳統與現代的變奏曲—女畫家的內心獨白方面，主要從個別女畫家題材選取方面，探究其潛在之女性意識，以及面對隨社會發展而變動主流意識，所造成思想上與創作上的矛盾與衝擊。最後，依據上述研究發現提出本論文之結論與研究結果。

關鍵字

戰後美術 ； 女性意識 ； 吳詠香 ； 袁樞真 ； 孫多慈 ； 梁秀中

並列摘要

After World War II, the first generation of artists who fled from mainland China to Taiwan with the KMT government followed the orthodox principles of Chinese ink painting. Due to the political situation and inevitable cultural conflict with the local artists, alienation between the two groups resulted. This thesis will examine four female artists who have served as professors in the art department at Taiwan Normal University. Not only is it rare to find four post-war female artists but it is equally unusual and extraordinary at that time that they all ascended to teaching positions in higher education. In addition, Taiwan Normal University, which was founded by the KMT government and serves as the preeminent school of art in Taiwan, has influenced the development of Taiwanese art for decades. The major focus of this thesis will be examination of four female artists: Yuen Shu Chen, who specializes in landscapes on canvas; Sun To Tzu, an expert in realism; Wu Yung Hsiang, famous for literati painting; and, Liang Hsiu Chung, an expert on the subject of ink painting figures.
There are five chapters in this thesis. Following the general introduction in chapter one, I divided the topic into three chapters. In chapter two, Art Forms between Chinese Tradition and Far Eastern, the historical background from 1949 to 1970 is highlighted, and I argue that the cultural circle was seriously affected by some political events, such as the “228 Incident” and subsequent “White Terror.” In the 1960s, the Intelligentsia was inclined to nihilism and made abstract paintings, which gradually became trendy alongside the traditional literati painting.
In chapter three, Conflicts and Assimilation between Oriental and Occidental Art Forms: Continuity and Challenge of the Tradition Heritage, I will compare the four female artists individually and analyze their different styles. I will argue that there is a strong relationship between their art work and the political situation during the period in which they worked. Furthermore, I will share my opinion about their contributions based on their oeuvres and writings. For instance, after her master teacher Pu Hsin Yu, Wu Yung Hsiang is considered one of greatest traditional ink painting artists and brought Northern School of literati painting into Normal Taiwan University. In post-war era, Yuen Shu Chen and Sun To Tzu offered other Taiwanese artists new art forms and unique styles, the former combined the literati idea with oil painting and the latter majored in realism. At last, Liang Hsiu Chung greatly promoted the figure painting and increased the tendency of native Taiwanese realism.
In chapter four, The Variation of Tradition and Modern: The Monologue of Female Artists, it is necessary to elucidate how these female artists chose their subject matter and explore their femininity when they faced social change and modification. In the final chapter, I will share my insights and conclusions.

並列關鍵字

post-war art ； women conscious ； Wu Yung Hsiang ； Yuen Shu Chen ； Sun To Tzu ； Liang Hsiu Chung

參考文獻

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