胶彩画在台湾画坛的兴起与变迁  

The Study of the Rise and Change of the Gouache in Taiwan

作　　者：刘北一 LIU Bei-yi

机构地区：[1]闽南师范大学艺术学院,福建漳州363000

出　　处：《闽南师范大学学报（哲学社会科学版）》2018年第2期22-29,共8页Journal of Minnan Normal University:Philosophy and Social Sciences

摘　　要：基于文化政策的宣导与台湾社会的发展变迁,胶彩画在台湾画坛从兴起到衰落乃至风格变化,这其中的逻辑关系从日人据台、台湾光复初期及国民党政权退守台湾等不同的历史阶段体现出来,胶彩画的发展与变迁的脉络基本贯穿了20世纪的台湾画坛。从政治社会学的视角来看,大力推行胶彩画教育是日本人窃占和同化台湾社会的文化手段之一。从艺术发展的层面来分析,明清时代流传在台湾的文人写意画受到了极大冲击,而台湾画坛却因胶彩画的风靡引入了西画的观念,其存在与变化本身丰富了台湾美术的发展路径,并逐渐与其他绘画因素融合而逐渐成为反映台湾地区本土文化的美术形式之一。Due to the guidance of cultural policy and the development and change of Taiwan society,the logical relationship among the rise, the decline and even the change of style ofthe gouache in Taiwan is reflected in the different historical stages, from the Japanese rule of Taiwan, to the early period of the revival of Taiwan and to the retreat of the Kuomintang regime to Taiwan.The painting ran through the Taiwan painting circle in the twentieth century. From the perspective of political sociology, the painting education was vigorously promoted as one of the cultural means of Japanese occupation and assimilation of Taiwan society. From the view of art development, the literati painting in Taiwan in the Ming and Qing Dynasties had been greatly impacted,while the Taiwan painting circlebrought in the concept of Western painting because of the popularity of the gouache. Its existence and change have enriched the development of Taiwan＇s art and gradually becomes one of the art forms reflecting the native culture in Taiwan after integrating with other painting factors.

关 键 词：胶彩画 台湾画坛 兴起 变迁 

分 类 号：J120.9[艺术—艺术理论]