顏水龍與台灣美術工藝運動

A Study of Taiwan Arts and Crafts Movement －SHUI-LONG YEN

吳依蓉(Yi-Jung Wu)

指導教授 ： 陳其澎

中原大學/設計學院/室內設計研究所/碩士(2017年)

https://doi.org/10.6840/cycu201700280

摘要

顏水龍為台灣國寶級的本土畫家，1941年留日時期「民藝運動」的薰陶，與張萬傳等人創立了「台灣造型美術協會」及「南亞工藝社」，啟發顏水龍對台灣本土生活美學的傳承，自創台灣味的工藝設計作品。顏水龍被譽為「有機知識份子－可以積極地為自己的社會群體擔任重要任務，包括負責技術性的「專家」任務，但又同時是「指揮者」，提供雄偉的、政治的視野」，他認為生活的美感在於人們投入巧思、身體力行創作，彼此間交流學習而成，民眾也藉此懂得工藝創作樂趣，引領台灣走入「美術工藝運動」熱潮。1950年，台灣室內裝修啟蒙期間，在台中「太陽堂」店面大廳，有著顏水龍極為著名的「向日葵」馬賽克拼貼壁畫設計。當時，他也接觸一些室內軟件裝飾設計。顏水龍身為藝術家與「工藝運動」提倡者，歷經台灣室內裝修啟蒙時期，代表早期台灣室內設計前輩，奠定了台灣室內設計根基。在「美術工藝運動」文獻探討中，重要人物包含：威廉・莫里斯(William Morris)、柳宗悅、德意志工藝聯盟(簡稱DWB)、蘇格蘭新藝術運動及顏水龍。本研究以台灣「美術工藝運動」始祖－顏水龍，探討在地生活美學，文獻分析顏水龍室內空間運用之作品特徵。針對英國「美術工藝運動」先驅者－威廉・莫里斯、日本「民藝運動」之父－柳宗悅及台灣「工藝運動」－顏水龍，對照三者關聯及差異，激勵文化美學價值。

關鍵字

顏水龍、工藝運動、藝術美學、室內裝飾、本土在地性

並列摘要

Shui-Long Yen, the famous Taiwanese painter, is one of the national treasures. In 1941 when Japanese Folkart Movement was popular throughout Japan, with the influence, Yen and his countryman Wan-Chuan Chang had established “Taiwan Plastic Arts Association” and “South-Asia Arts and Crafts Society”. This has enlightened Yen’s Aesthetic notions which come from Taiwanese daily life, also, he had promoted and established the unique Taiwan-taste arts and crafts products. A renowned scholar has praised Yen as the organic intellectual pioneer who could play major missions in Taiwanese society, those missions are included: technical esptriques, conduct, therefore, could provide grand, political visions.” Thus, Shui-Long Yen had not only leaded Taiwanese Arts and Crafts Movement, but also, he promoted the activities of social practices by locals. In 1950s, Yen, the enlightener of Taiwan Interior Design, decorated the lobby of the famous bakery store “The Sun Pavilion”, who put his famous mosaic collage artwork “ The Sun Flower”on the wall. By this doing, in addition to an artistic project, Yen had also declared a new base of Interior Decoration.
Throughout the review of the literatures regarding Arts and Crafts Movement, it is found that the majority of the researches mostly discussed individually. That means most scholars discussed Morris’ Arts and Crafts Movements, Muneyoshi Yanagi ’s Japanese Folk Arts, and Yen’s Taiwanese arts and crafts Movenment, respectively. A comparative discussion among their relations is therefore lacked. Thus, the main aim of this discussion is aimed to compare those similarities and differences, in other words, a cross reference study among those three.

並列關鍵字

SHUI-LONG YEN,Craft movement, artistic esthetics, interior decoration, domesticity

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