臺灣美術、設計與包浩斯的交會-以顏水龍的創作和教學為例
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2022
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本研究以顏水龍(1903-1997)的創作與教學為例，從中考察其作品風格與教 育理念中吸收包浩斯元素與理念的過程。由於顏水龍個人的藝術學習歷程較為複 雜，地域上，觸及臺灣、日本，與法國;時間軸上，橫跨戰前的日治時期到戰後 臺灣，這期間臺灣的美術教育也產生轉變，從日治時期的圖案畫課程，僅以圖像 方法學為導向;到戰後專門美術科系的成立，以培育藝術家為導向，體現出臺灣 美術教育的流變。在 1950 年代美援的協助下，中國生產力中心以及臺灣手工業推廣中心等機 構成立後，諸多的外國學者專家前往臺灣，他們帶來美術設計、工業設計等新知， 促使藝術家開始注意到設計的重要性，與此同時，亦孕育著臺灣在 1960 年代， 設計科系的作興，以及相關刊物的出版。此階段可謂美術領域跨度到設計領域的 轉換期，基於這個轉換，筆者以包浩斯在臺灣的影響作為角度，進行探討，觀看 包浩斯在此時期與臺灣美術、設計的交會。其中，以顏水龍作為包浩斯的導入者之一，作為整個研究架構的核心，有別 於建築史，而是加入美術史的角度，整理包浩斯何時，且如何傳入臺灣，以及 1960 年代前後，臺灣的藝術界到設計界如何理解包浩斯，作為撰述脈絡。並透過戰後， 顏水龍作為畫家、廣告設計家、工藝家、教育家等多重身份，成為不可多得的人 才，原以純美術為目的而推廣手工藝之美的他，在戰後政策的驅動下，轉而推動 具有實業性的工藝品，此過程中，他應用包浩斯的元素與理念，不僅在圖像作品 與產品製作中呈現，亦在課堂中教授包浩斯概念。從中可一探，顏水龍作為包浩 斯的傳布者，以及包浩斯理念在臺灣的實踐。
The present research is a study on the works and teaching of Yen Shui-long (1903-1997), and analyzes how Bauhaus influences Yen’s style and teaching philosophy. Yen Shui-long’s artistic education was complicated. He had studied in Taiwan, Japan, and France, and his study spanned from the pre-war Japanese occupation period to post-war Taiwan. The pattern painting course during the Japanese occupation period only aimed at training the students the basic graphic skills; the establishment of the specialized art department after the war was oriented to cultivate artists, reflecting the evolution of art education in Taiwan.With the U.S. Aid in the 1950s, the China Productivity Center and the Taiwan Handicraft Promotion Center were established. Many foreign scholars and experts came to Taiwan. They brought new knowledge on art and design, industrial design, etc., which prompted artists to pay attention to the importance of design. At the same time, it also gave birth to the development of the design departments in the higher education in Taiwan in the 1960s, as well as the publications of related topics. During this period, many artists had changed their focus from fine art to design. The present paper discusses the influence of Bauhaus in Taiwan and observes the encounter between Bauhaus and Taiwanese art and design during this period.Yen Shui-long was one of those who introduced Bauhaus. Taking Yen Shui-long as the topic, the present research offers a different perspective from the history of architecture. From the perspective of art history, the research sorts out when and how the Bauhaus was introduced to Taiwan, and how the Taiwanese art and design circles understood Bauhaus around 1960s. In the post-war period, Yen Shui-long, as a painter, advertising designer, craftsman, and educator, was a rare talent with multiple identities. Yen originally hoped to bring art close to the people by promoting handicrafts (with good designs) that were close to the everyday life. Driven by the post-war policy, he turned to promote industrial crafts. He not only applied Bauhaus elements and concepts to graphic works and product production, but also taught Bauhaus concepts in the classrooms. From this, we can see that Yen Shui-long was a promoter and practitioner of Bauhaus ideas in Taiwan.
The present research is a study on the works and teaching of Yen Shui-long (1903-1997), and analyzes how Bauhaus influences Yen’s style and teaching philosophy. Yen Shui-long’s artistic education was complicated. He had studied in Taiwan, Japan, and France, and his study spanned from the pre-war Japanese occupation period to post-war Taiwan. The pattern painting course during the Japanese occupation period only aimed at training the students the basic graphic skills; the establishment of the specialized art department after the war was oriented to cultivate artists, reflecting the evolution of art education in Taiwan.With the U.S. Aid in the 1950s, the China Productivity Center and the Taiwan Handicraft Promotion Center were established. Many foreign scholars and experts came to Taiwan. They brought new knowledge on art and design, industrial design, etc., which prompted artists to pay attention to the importance of design. At the same time, it also gave birth to the development of the design departments in the higher education in Taiwan in the 1960s, as well as the publications of related topics. During this period, many artists had changed their focus from fine art to design. The present paper discusses the influence of Bauhaus in Taiwan and observes the encounter between Bauhaus and Taiwanese art and design during this period.Yen Shui-long was one of those who introduced Bauhaus. Taking Yen Shui-long as the topic, the present research offers a different perspective from the history of architecture. From the perspective of art history, the research sorts out when and how the Bauhaus was introduced to Taiwan, and how the Taiwanese art and design circles understood Bauhaus around 1960s. In the post-war period, Yen Shui-long, as a painter, advertising designer, craftsman, and educator, was a rare talent with multiple identities. Yen originally hoped to bring art close to the people by promoting handicrafts (with good designs) that were close to the everyday life. Driven by the post-war policy, he turned to promote industrial crafts. He not only applied Bauhaus elements and concepts to graphic works and product production, but also taught Bauhaus concepts in the classrooms. From this, we can see that Yen Shui-long was a promoter and practitioner of Bauhaus ideas in Taiwan.
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顏水龍, 包浩斯, 美援, 美術設計, Yen Shui-long, Bauhaus, the U.S. Aid, Art and Design