日据时期“官展”制度下台湾水墨画风格的“承”与“变”  

Inheritance and Evolution of Taiwan’s Ink Painting Style During the Japanese Occupation Period

作　　者：刘北一 LIU Beiyi(Art School,Minnan Normal University,Zhan zhou,China 363000)

机构地区：[1]闽南师范大学艺术学院

出　　处：《温州大学学报（社会科学版）》2019年第4期111-116,共6页Journal of Wenzhou University：Social Science Edition

基　　金：2018年度福建省社会科学规划项目(FJ2018C089)

摘　　要：1895年日本窃占台湾之后,日人试图透过文化政策的管制达到同化台湾的政治目的。基于时局及文化发展的阶段性特征,在日据的前半期(1895–1926),台湾水墨画基本延续了之前的风格,仍然占据画坛的主导权。1927年第一届“台展”的评选结果显示,传统水墨画作品悉数落选,此后,具有日本留学背景的台湾青年纷纷以胶彩画参展获奖,进而在台湾画坛产生了广泛的影响。传统水墨画被迫转型,而逐渐出现了两种画风融合的趋势。After Japan occupied Taiwan in 1895,Japanese tried to achieve the political purpose of assimilating Taiwan by means of the control of cultural policies.In the first half of the Japanese occupation(1895-1926),Taiwan’s ink painting continued the previous style basically and still dominated the paintings based on current situation and stage characteristics of cultural development.In 1927,the first“Taiwan exhibition”opened,all the traditional ink paintings were not selected.After that,Taiwan’s youths who had studied in Japan won prizes for gouache and it had a widespread influence in Taiwan’s paintings.Traditional ink paintings were forced to transform,and the trend of the fusion of the two styles gradually emerged.

关 键 词：日据时期 台湾水墨画 胶彩画 

分 类 号：J222[艺术—美术]