存在之美—台湾画家陈进（1907-1998）人物画中的时空延续性
发布时间：2018-08-02 17:29
【摘要】：陈进(1907-1998)为台湾胶彩画(又称东洋画)女画家。日治中后期,她以人物题材展开其画业,屡获「台展」、「帝展」之殊荣。在那个由传统走向西化、工业化的年代,「人物画」写实性的掌握几乎作为东方现代化进程之直接标志。台湾因中日马关条约而割让日本,对它而言,与中原文化、日本文化及日式现代化之复杂的冲撞、过渡、交融,直至寻找自身栖居之所的过程,从陈进人物画作之倒影中,不难显现。同时她以纯挚的理念追求「美」,延续并超乎现世个人主体,自战火余灰中、政治更迭里保存自身。适逢画家诞辰一百一十周年,本文在前人多元的研究成果中,将胶彩画的材料制作流程与绘制人物画的基本技术条件,作为「现象」再次诠释。具体讨论她提出的「美」,藉由特定的身体运动与知觉意识何以实现,并成为图象之内/外,主体在时空上的开创或延续。她笔下的台湾人文风景、陆续出现的新亲人等主题,将不再仅指向图像可读的文化意涵,更朗现了原初认知力反复重现的强度,以及面向「初次」乍现的经验时,知觉产生的惊动力。她凭借自由与自省互为表里的绘制态度,从东方线条活动中透视它以自身创生了新的时间意义,体现于精微之人物动态中。同时,摄影技术之运用将画面凝固于瞬间,与新式身体和时空的互动姿态、都市生活闪现的对象相互迭映。以上,皆涵摄于无声而历久的胶彩画创作行动。
[Abstract]:Chen Jin (1907-1998) is a female painter of Taiwanese plastic painting (also known as Dongyang painting). In the middle and later period of Japanese government, she developed her painting industry with characters, and won the honor of "Taiwan exhibition" and "emperor exhibition". In the age of westernization from tradition to industrialization, the mastering of realism in figure painting is almost a direct symbol of the modernization process in the East. Taiwan ceded Japan because of the Treaty between China and Japan. For it, it was in conflict with the Central Plains culture, Japanese culture and the complicated modernization of Japanese style, transitioning and blending, until the process of finding a place to live in, from the reflection of Chen Jin's portrait paintings. It's easy to see. At the same time, she pursues "beauty" with the pure and sincere idea, continues and transcends the present life individual main body, since the war remains ashes, the political change preserves itself. On the occasion of the 110 anniversary of the birth of the painter, this paper interprets the material production process and the basic technical conditions of drawing figure painting as "phenomena" in the pluralistic research achievements of predecessors. This paper specifically discusses how the "beauty" proposed by her is realized by specific physical movement and perceptual consciousness and becomes the creation or continuation of the subject in time and space within and outside the image. The cultural scenery in Taiwan, as well as the themes of new relatives, will no longer only point to the cultural implications of image readability, but also show the intensity of repetition of the original cognitive power, and when facing the "first" experience, A shock of consciousness. By means of her drawing attitude of freedom and introspection, she sees through the activities of the eastern lines that it creates a new meaning of time by itself, which is embodied in the subtle character dynamics. At the same time, the use of photography solidifies the picture in an instant, with the new body and space-time interactive posture, urban life flashing objects overlap. All of the above are in the silent and long-lasting creation of colloidal painting action.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
本文编号：2160156
[Abstract]:Chen Jin (1907-1998) is a female painter of Taiwanese plastic painting (also known as Dongyang painting). In the middle and later period of Japanese government, she developed her painting industry with characters, and won the honor of "Taiwan exhibition" and "emperor exhibition". In the age of westernization from tradition to industrialization, the mastering of realism in figure painting is almost a direct symbol of the modernization process in the East. Taiwan ceded Japan because of the Treaty between China and Japan. For it, it was in conflict with the Central Plains culture, Japanese culture and the complicated modernization of Japanese style, transitioning and blending, until the process of finding a place to live in, from the reflection of Chen Jin's portrait paintings. It's easy to see. At the same time, she pursues "beauty" with the pure and sincere idea, continues and transcends the present life individual main body, since the war remains ashes, the political change preserves itself. On the occasion of the 110 anniversary of the birth of the painter, this paper interprets the material production process and the basic technical conditions of drawing figure painting as "phenomena" in the pluralistic research achievements of predecessors. This paper specifically discusses how the "beauty" proposed by her is realized by specific physical movement and perceptual consciousness and becomes the creation or continuation of the subject in time and space within and outside the image. The cultural scenery in Taiwan, as well as the themes of new relatives, will no longer only point to the cultural implications of image readability, but also show the intensity of repetition of the original cognitive power, and when facing the "first" experience, A shock of consciousness. By means of her drawing attitude of freedom and introspection, she sees through the activities of the eastern lines that it creates a new meaning of time by itself, which is embodied in the subtle character dynamics. At the same time, the use of photography solidifies the picture in an instant, with the new body and space-time interactive posture, urban life flashing objects overlap. All of the above are in the silent and long-lasting creation of colloidal painting action.
【学位授予单位】：中央美术学院
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J212
【参考文献】
相关期刊论文 前1条
1 贺晓舟;;清末中国的留日美术女生——以日本私立女子美术学校江苏籍女生为主的考察[J];南京艺术学院学报(美术与设计版);2014年03期
，本文编号：2160156
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