台灣城市地景繪畫研究（1980-2000）

Abstract

台灣城市地景繪畫雖然在美術或建築空間領域中偶爾被提及討論或研究，但是對於戰後台灣城市地景繪畫的發展脈絡歷史，卻缺乏完整性、史論性的深入分析研究，因此本研究期望能建立戰後台灣城市地景繪畫及畫家的發展史，以促使學術界對此主題之肯定與研究興趣，並探索其中的城市意象及其意涵，以瞭解當時人們對城市的觀感，並藉由跨領域的研究，探討城市空間規劃與內涵意義，以提供未來城市規劃參考。 本研究主題是以「城市」及其給人的「城市意象」作為研究主體，其中包括實質看得見的「城市地景」與看不見的「城市空間」，並探討其對「人」的觀感與情感影響與關係。論述架構將先論戰後1945年至2000年的台灣城市地景畫畫家及其創作的城市地景畫發展脈絡，再深入研究城市地景繪畫最為豐富的1980年至2000年作品，先探討台灣北、南、中三大主要都會區的城市意象，再整體性的對畫面上看得見的元素進行符號指涉關係研究，最後則深入畫面上看不見的空間元素進行探討。本研究大致獲得以下結論： 一、城市地景繪畫在台灣美術史上具有獨立性與重要性。 二、台灣城市地景繪畫發展與政治解嚴、城市發展有密切的關係。 三、1980年至2000年之台灣城市地景繪畫在美術表現上欲以表達真實城市的樣貌、城市意象及其表達的元素大部份為負面影像與意涵，描繪的城市空間則轉向為已地方性流失、短暫的情感空間及失落的空間。 四、透過台灣城市地景繪畫之研究，反映出應以「人」為本進行城市規劃。 本研究希望能刺激台灣藝術創作者對自身生活環境進行觀照、城市規劃者進而創造利於人際情感與場所精神建立的人本城市、市民也能關注自己的生活環境，進而創造自己的城市作品，讓「城市」、「人」、「自然」達到最大的和諧。Taiwanese cityscape paintings have been discussed or studied in fine art or architecture space from time to time. In spite of that, there are rarely sufficient analyses and studies on the historical development of Taiwanese cityscape paintings created during the post-war period. Therefore, this research hopes to establish the history of development of Taiwanese cityscape paintings and painters in order to encourage academia to approve this subject and to be interested in researching it. Also, this research also explores city image and implications to understand people’s viewpoints towards cities. In addition, through interdisciplinary research, this research also discusses the planning of city space and its meanings and implications. It is hoped to provide references for the future’s city planning.

In the dissertation, “city” and its “city image” are taken into the research as main subjects. The contents deal with visible “cityscape” and invisible “city space” and their emotional influences and relationship with “humans.” In the dissertation structure, Taiwanese cityscape painters and their paintings’ history of development during 1945 to 2000 are first explored. Then, the cityscape paintings during 1980 to 2000 are brought for in-depth discussion because it was the most productive and abundant period for this kind of art form. In this discussion, city images in the three cities located in northern, southern and central Taiwan are considered first. Then, in a general approach, elements that are visible on the surface of the paintings are taken for research, especially about their symbols and relevant relations. Finally, the spatial elements which cannot be seen easily on the paintings’ surface are profoundly analyzed and brought into a further discussion. Overall, this research’s conclusions are listed as follows.

First, the cityscape paintings have their independence and importance in Taiwan’s fine art history.

Secondly, there is a close relationship among Taiwanese cityscape painting development, political situation after martial law was abolished and city development.

Thirdly, in the representation of Taiwanese cityscape paintings from 1980 to 2000, true city looks are conveyed. In the process, most city images and expressed elements have negative implications and also pictorial city space is transferred into the space with loss of locality, with short-term Affection Space, and with Lost Space.

Fourthly, by researching Taiwanese cityscape paintings, it is realized that the “human” factor should have been much considered while city planning proceeded.

This research wishes to stimulate Taiwan’s art creators to proceed with reflection on their own living environment and city planners to build humanistic cities which are beneficial to interpersonal relationship and emotions. It is also wished furthermore that citizens can concern themselves with their own living environment and then create their own city works. All these wishes should come together so that the maximum harmony among city, human, and natural features can be achieved in the end.