陳澄波裸體畫研究
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2017
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本研究關注陳澄波裸體畫的意義，嘗試探討陳澄波在台、日學生時期的學習，上海任教與返台後的時代脈絡與畫壇間互動關係對陳澄波的裸體習作、油畫風格的影響。陳澄波終其一生不曾間斷對裸體畫的創作，對陳澄波而言，裸體畫是他用以檢視自身觀察與描繪能力的方法，因此討論陳澄波的裸體習作、裸體畫是觀察陳澄波繪畫風格與藝術思想有效的途徑，裸體作品也成為在風景寫生外，陳澄波一生經歷的註腳。
本文除了重新檢視台灣圖畫教育中對寫生概念的啟蒙外，也討論了日本現代美術對西方裸體畫傳統的傳承，以及上海藝術家們對寫生、人體概念的審美觀，並如何藉由裸體畫實踐現代美術風格。透過陳澄波在台灣、日本、上海三地遊歷的腳步，檢視戰前東亞藝術家們身處的時代脈絡與裸體畫藝術與傳統藝術與風俗間磨合狀況，最終回歸陳澄波的立場，重新思考其裸體畫的意義。本研究不僅是為重新定義陳澄波裸體畫的定位，也期待透過陳澄波裸體畫創作的議題回應了戰前東亞美術現象的觀察。
The study of Chen Cheng-Po’s nude painting, focusing on the experience of his life from Taiwan, Tokyo and Shanghai. This essay tries to analyze the influence by those background and relationship between Chen Cheng-Po’s and painting groups. Chen Cheng-Po view nude panting as the observation and art talent of himself and he never stop paint nude panting. For the reason, it is useful to seek Chen Cheng-Po’s style and thinking by those nude painting. The essay including the enlightenment of sketch from painting education in Taiwan, western tradition of nude painting in Japan modern art and the aesthetic of sketch and human body in Shanghai. In addition, most important thing is different culture practice modern art by nude painting. In pace with Chen Cheng-Po found the conflict between western nude art and eastern traditional. Finally, the study returned to the position of Chen Cheng-Po, finding the meaning of nude painting again and gave the response to the phenomenon of East Asia art before World War II.
The study of Chen Cheng-Po’s nude painting, focusing on the experience of his life from Taiwan, Tokyo and Shanghai. This essay tries to analyze the influence by those background and relationship between Chen Cheng-Po’s and painting groups. Chen Cheng-Po view nude panting as the observation and art talent of himself and he never stop paint nude panting. For the reason, it is useful to seek Chen Cheng-Po’s style and thinking by those nude painting. The essay including the enlightenment of sketch from painting education in Taiwan, western tradition of nude painting in Japan modern art and the aesthetic of sketch and human body in Shanghai. In addition, most important thing is different culture practice modern art by nude painting. In pace with Chen Cheng-Po found the conflict between western nude art and eastern traditional. Finally, the study returned to the position of Chen Cheng-Po, finding the meaning of nude painting again and gave the response to the phenomenon of East Asia art before World War II.
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陳澄波, 裸體畫, 人物畫, 東京美術學校, 藝苑繪畫研究所, Chen Cheng-Po, Nude Painting, Figure Painting, Tokyo Bijutsu Gakko, Yiyuan