臺灣博碩士論文加值系統

西洋繪畫傳入台灣，雖然期間很短，其間不乏傑出人材；然而從戰後到解嚴之間，台灣前輩畫家卻在時代的潮流之中被遺忘，其中有許多選擇鄉土景物為題材，不追求正在流行的西方藝術風格，卻被視為保守落伍，倍受冷落，造成了台灣美術領域缺乏傳承的現象；種種錯綜複雜政治歷史因素，也間接促使風景畫成為台灣繪畫的主流題材。
　　 近年來台灣的藝術環境，呈現出了異常複雜多元的風貌，各種科技藝術、裝置藝術、行動藝術紛紛出籠，而傳統的繪畫藝術卻相對愈顯勢微的窘境。
本文試圖在這傳統與創新之間，嘗試尋求本土繪畫的新風貌；筆者希望在本創作論述中，藉由西洋美術史上幾個重要畫派，如何經由拆解及重組，促使藝術風格不斷轉變；以此對照剖析筆者的心路歷程，及創作上的轉換形式，實踐如何取得寫實與抽象，具象與非具象之間的平衡，以達繪畫創作的新風貌。
文中採用圖文並置，將每位大師初期仍在「臨摹自然」階段，經由轉化過程直到蛻變及至異化，將各種作品所呈現的不同面貌作一剖析與探討。希望能藉由藝術史脈絡與對話，更能釐清筆者自身的創作理念，和繪畫風格的形成。

In the wake of the introduction of western paintings into Taiwan, albeit brief, quite a few artistic talents emerged. However, during the period of time between the end of WWII and the Lifting of Martial Law, pioneering Taiwanese painters fell into oblivion in the passage of time. Many of them chose local landscape as their major subject matter. These artists were regarded as conservative and old-fashioned as they deliberately chose not to follow artistic styles of western art, which were widely sought-after at that time. Lots of complex historical factors also indirectly contributed to the fact that landscape became a mainstream theme in Taiwanese art. The neglect of these artists' achievement regretfully resulted in the lack of heritage in the art field of Taiwan.
In recent years, the art arena of Taiwan prides itself on an unusual diversity and growing complexity, witnessing a variety of art forms such as technical art, installation art, and action art. Compared to which, the traditional art of canvas painting seems to have faded away. In the west, the attitude towards the pursuit of pure aestheticism has changed in the modern art field. From Kin'Ichiro Ishikawa (1871-1945) onwards, Taiwanese artists left behind the tradition of depicting landscape and historic sites, and of doing outdoor sketches. They started to seek distinctive stylistic signatures, something much more personal. They tended to draw their inspiration from natural environment without tempting to represent nature or depict natural beauty. What they intended to do is to convey artistic quality and humanistic thinking. This thesis attempts to present the novelty of traditional paintings by contextualizing these art works somewhere between tradition and creation. In this theoretical piece, by juxtaposing their works and a number of important schools of western art, I hope to show how the early painters transformed their own styles, and how they managed to deconstruct as well as reconstruct their own art. I will also examine my own experiences as an artist, and analyze how I have succeeded in transforming my creative forms, that is, gaining a fine balance between the realistic and the abstract, the representational and non-representational, so as to make artistic novelty possible. In my thesis, I juxtapose verbal content and art works in order to make a comparison between each master's early representational works modeled on nature, and his other pieces done in the process of his artistic transformation as well as upon the completion of this transformation. By doing so, I hope not only to present my discourse more clearly and effectively, but trace the formation of my personal artistic styles.

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