宜蘭老畫家王攀元

張育雯

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宜蘭老畫家王攀元

Wang Pen Yuan,the representative of senior painter in Yi-Lan

張育雯 , Masters　　Advisor：吳方正　　

繁體中文

王攀元；宜蘭前輩畫家； Wang Pen Yuan ； Yi-Lan senior painter

Abstract │ Reference (102) │ Altmetrics

Abstract 〈TOP〉

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I
n the different territory, the value of “local geography and history” and “ idol (a typical character)” is to be make by molding. As one part of culture, art could not be avoided. The statement that Wang Pen Yuan is the representative of Yi-Lan senior painter (who worked in that field earlier) was a tangible testimony. He was born in Jiang-Su, and then had learned artistry of oil painting, aquarelle, sketch, and traditional Chinese painting in Shan-Hai. His background were very different from those who be called “Taiwan Senior Painter(predecessor)”. This is one point of this discourse. And the second is that he spent most of his life time in Yi-Lan city but he is not a genre painter. He had taught in Luo-dong high school during 1952 to 1971, and after retirement, he still paints oil painting, aquarelle, and traditional Chinese painting in YI-Lan. But when we inspect the subject matter and style of his paintings, we could not find the connection to Yi-Lan. So that this discouese presume that identify Wang Pen Yuan with Yi-Lan senior painter must to be adjust in concept of the most people. And after all, the process of how Wang Pen Yuan become the representative of Yi-Lan senior painter maybe also be make by molding intentionally.
By sorting and comparing the bio-bibliography and the work of Wang Pen Yuan, I reconstruct the art environment of Shan-Hai, Yi-Lan and Taiwan in 1930’s, 1960’s and 1980’s. Moreover, by studying and investigating the relevant journals, biographies and document records, this discourse tries to describe and decipherment the process of how Wang Pen Yuan become the representative of Yi-Lan senior painter.

Reference ( 102 ) 〈TOP〉

李歐梵著：《上海摩登-一種新都市文化在中國1930-1945》，毛尖譯，香港：Oxford University Press（china） Ltd.,2000 ,pp45。譯自”Shanghai Modern :The Flowering of a New Urban Culture in China, 1930-1945”,1999, Harvard University。
連結：
李立亨：〈藝術家素描〉，刊載於財團法人國家文化藝術基金會網站： http://www.ncafroc.org.tw 。
連結：
財團法人仰山文教基金會網站：http://www.youngsun.org.tw/。
連結：
吳方正，〈裸的理由—二十世紀初期中國人體寫生問題的討論〉，刊載於《新史學》第十五卷第二期，臺北市：新史學雜誌社，2004,6。
連結：
袁汝儀：〈戰後台灣美術教育學術性研究文獻初探：1930-1960的自由畫〉，刊載於《「藝術教育研究的回顧與展望」研討會論文集》，屏東：屏東師範大學，2005,4。
連結：

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