夏一夫（玉符）繪畫之研究
Abstract
中國繪畫的發展，在各個時代都有其開創及筆墨上的突破，基本上這些突破也都依循在傳統的文化本質中發展，這樣的文化本質縱使在非漢族統治的朝代，似乎也能得到認同而得以延續。但是這樣的觀點，在民國之後產生了一些變化，國勢衰弱的影響下，對於傳統文化似乎也產生了存疑，面對傳統水墨畫也有了一些改革及反省。在這樣的時代潮流中，不論台灣或大陸都對水墨畫的發展提出了一些新看法，雖然政治情勢或文化政策也一度影響到兩岸繪畫的發展，但是這也無法阻止水墨畫發展之局勢。
當然如何在既有的傳統文化特質中，尋求水墨畫的新徑是重要的，以文化移植的來解決文化改革，最終似乎也只能得到暫時療慰的假象，要解決這樣問題，或許必須回頭來面對自己的文化。因此，在創新及改革中還能保有傳統的文化，也就是最能展現文化特質的文化反省。
夏一夫在台灣畫壇默默的耕耘了數十年，在水墨畫的創新上，也有了些許的成果。但由於與畫壇間的往來並不密切，真正認識他的人屈指可數。因此本文就夏一夫繪畫的幾個面向，來探究畫家的繪畫資料及成就。由於當代的畫家，相關文獻的討論較為不足，因此文章較為著重在畫家資料的收集與整理。本文主要的章節重點有畫家的生涯、與藝術界的互動、藝術風格的形成及藝術成就的探討等四個部份。畫家的生涯主要是記述畫家的生命歷程，以及生命的經驗對於往後創作的影響。藝壇的互動部份，是在探討畫家與藝術界的往來，藉由釐清畫家與藝術界的關係及生命的經驗，整理出畫家繪畫當中的精神史。藝術風格的形成，是從畫家的藝術學習、自我探索及風格創造三個部份來探討畫家創作的歷程。畫家的藝術成就，是以美術史的角度，來討論畫家的藝術定位。但是實際上有關畫家的相關探討實在有限，在此筆者提出了個人研究的微薄觀點，這一部分也尚須往後有更多的討論。
本文資料來源多為畫家提供的原始資料，圖像也多為筆者經由原作翻拍的圖檔，經由資料的收集整理，對於畫家資料做一完整的建檔，以期對往後有志研究者，提供可為詢查參考的資料。
On the development path of Chinese painting, there are innovations and breakthroughs on painting skills in each dynasty. In general, most of these breakthroughs follow the essential sprit of traditional culture; even under the ruling powers were not form by Han race. However, this viewpoint has changed after the Republic of China is formed. The weak power of the nation results to the doubts of traditional culture and the reformation and introspection on traditional Chinese painting. Under this tide, both Taiwan and mainland China artists brought up new aspects toward the development of Chinese painting. Though, the political issues and culture policy have restricted the development of painting, the changing of Chinese paint is irresistible. How to find the new path for Chinese painting from the tradition is important. Using culture transplantation to replace reformation can only obtain the temporary comfort. To solve the problem, we must face our culture. In sum, it can present most culture characteristic in culture introspection by keeping traditions in the innovation and reformation. Hsia I-Fu has cultivated in Taiwan art community for decades, and has several contributions on the innovation of Chinese painting. Since he does not have close relation with the community, there were not so many people know him. The research discuss the artist’s information and achievement in several scopes, such as, artist’s career, the interaction with artist community, the formation of style and the achievement. In artist’s career section, it describes the life experience of the artist and the effect on the creation from the experience. The interaction with artist community section depicts the sprit of artist’s creation. The formation of style section discussed the progress of the creation in three parts: learning of art, self-inspection and self-learning, and style formation. As to the achievement section, the researcher discussed the artist’s position by using art history viewpoint. However, there were not many researches about the artist, the researcher brings up personal viewpoints in the achievement part. Since Hsia I-Fu is a temporary artist, the related literatures are limited. The research is focus on artist’s information and data collection and integration. The data and information in the research are primary data provided by the painter. Most of figures are copied from the original pictures. By collecting and consolidating, the research has archived thorough information for the artist. The research can be a reference for future study.
On the development path of Chinese painting, there are innovations and breakthroughs on painting skills in each dynasty. In general, most of these breakthroughs follow the essential sprit of traditional culture; even under the ruling powers were not form by Han race. However, this viewpoint has changed after the Republic of China is formed. The weak power of the nation results to the doubts of traditional culture and the reformation and introspection on traditional Chinese painting. Under this tide, both Taiwan and mainland China artists brought up new aspects toward the development of Chinese painting. Though, the political issues and culture policy have restricted the development of painting, the changing of Chinese paint is irresistible. How to find the new path for Chinese painting from the tradition is important. Using culture transplantation to replace reformation can only obtain the temporary comfort. To solve the problem, we must face our culture. In sum, it can present most culture characteristic in culture introspection by keeping traditions in the innovation and reformation. Hsia I-Fu has cultivated in Taiwan art community for decades, and has several contributions on the innovation of Chinese painting. Since he does not have close relation with the community, there were not so many people know him. The research discuss the artist’s information and achievement in several scopes, such as, artist’s career, the interaction with artist community, the formation of style and the achievement. In artist’s career section, it describes the life experience of the artist and the effect on the creation from the experience. The interaction with artist community section depicts the sprit of artist’s creation. The formation of style section discussed the progress of the creation in three parts: learning of art, self-inspection and self-learning, and style formation. As to the achievement section, the researcher discussed the artist’s position by using art history viewpoint. However, there were not many researches about the artist, the researcher brings up personal viewpoints in the achievement part. Since Hsia I-Fu is a temporary artist, the related literatures are limited. The research is focus on artist’s information and data collection and integration. The data and information in the research are primary data provided by the painter. Most of figures are copied from the original pictures. By collecting and consolidating, the research has archived thorough information for the artist. The research can be a reference for future study.
Description
Keywords
夏一夫, 台灣美術, 水墨畫, 焦墨, 山水