杜簦吟(1927-)繪畫研究
Abstract
杜簦吟（1927-）自幼喜好探索自然，觀察物象，熱愛繪畫。兒時的繪畫經驗和師長的啟迪，以及軍旅生涯中藉由繪畫撫慰淒苦的心靈，使他在退伍後，毅然決心後半生投身藝術的探求。他吸收古人技法的長處，領略其法翰精妙的思維，找到自己的新途。他採取張書旂的「半寫意」的方式，既不忽略基本技巧，也不忽略性靈的表露，在寫意與造形之間斟酌取捨。並且融詩意入繪境闡述個人之價值觀、審美觀和生態觀察。
在古典詩詞美學與繪畫脫解的時代中，本論文著重分析杜簦吟的繪畫與題畫詩，所特具的表徵。題畫詩蘊涵畫者的文化涵養與面對人生中各種事務的深刻感受，畫者以借喻花鳥對象的方式借物喻情，儼然是他在時代當中的思考紀錄。
杜簦吟將近半世紀在臺灣教授寫意花鳥藝術，長期投入社會藝術教育工作，繪畫技法與眾不同是他的優勢，本論文記錄並分析他的繪畫技法，提供台灣寫意花鳥畫風格脈絡資訊。
本文分成六部份：第一章緒論，包含動機、目的、研究方法和範圍限制。第二章則探討杜簦吟所處的時代背景，梳理戰後台灣的水墨繪畫概況，以理解杜簦吟入畫壇時，可能面臨的各種主流思潮衝擊，政府與行政如何指導藝術的走向。第三章為杜簦吟生平。本章亦是文獻探討之一，他自幼年到晚年所經歷的艱險生命歷程和孤寂的創作歷程，他如何走向繪畫之路，如何與畫壇互動，皆在探討之列。第四章則為剖析杜簦吟人生的感悟與藝術意象的關聯。他的作品他的藝術是含蓄的，然而通過詩詞和繪畫，理解他的個性格、情感、對政治社會的觀察、自然生態的觀察，本章從作品透露的與線索進行剖析。第五章為杜簦吟作品形制分析。本章分兩部分，一是統計其種類繁多的繪畫作品和教學畫稿，紀錄和分析作品內容。二是分析其畫作之技巧、色彩…等美感表現。第六章 結論。總結杜簦吟的藝術在形式與內涵上的特點。
Tu, Tun-Yin (1927~) has enjoyed exploring with nature, observing objects, and been enthusiastic with painting since childhood. With his painting experiences of childhood and inspirations from his teachers, as well as easing his melancholy spirit during his military career by way of painting, after retiring from active military service, he has made up his minds that for the rest of his life, he is going to invest all of his energy into the exploration of art. With his grasp on the strong points from the techniques of ancient masters, he has found his new life with understanding to the fascinated thoughts of the extensive principles from their practices. By adopting the approach of “half freehand” from Chang Shu Chi, to take into consideration of leave and take between freehand brushwork and flair, neither to neglect basic skills nor to ignore the expressions of spiritual minds. Moreover, in his art works, he has also applied with poetic meanings for the illustration of his personal values, aesthetics and observations to the ecological environments. In the era of disarray between Chinese classical poetry aesthetics and painting, to make analysis of classical art formats from Tu, Tun-Yin in the paper, by which the representations are implied in Poetry, Calligraphy, Painting, and Seal-engraving. Chapter One Introduction. To make introduction of motivations, purposes, research methods, and coverage restrictions in the paper. Chapter Two Background of Painting Era Where Tu, Tun-Yin was from. This chapter mainly talked about the overall situations of ink painting in Taiwan after the war, in this way, to understand how his paintings were interactive with the trends of the era, even though it was at the end of classical ink paintings when Tu, Tun-Yin stepped into the world of painting. Chapter Three The Life of Tu, Tun-Yin. This chapter is also one of documentary investigations, what he has suffered through from childhood to old years on the hardships and treacherous life experiences, as well as lonesome journey of work creations. Chapter Four Analysis of Associations Between Realizations in life And Artistic Abstracts From Tu, Tun-Yin. His art works are reserved, and from his poems and paintings, there are displays of his personality, emotions, and observations to the political society, and studies of natural environments and through the traces exposed in his works, to work on further analysis in the chapter. Chapter Five Analysis of Work Compositions from Tu, Tun-Yin. This chapter is divided into two sections, and one is with statistics on the count of his various painting works and teaching drawing drafts, to record and make analysis of his work contents. Moreover, the other part is to make analysis of aesthetic expressions such as techniques, colors, and spatial compositions in his paintings. Chapter Six Conclusion. To sum up the features and influences on both forms and contents from the art works of Tu, Tun-Yin.
Tu, Tun-Yin (1927~) has enjoyed exploring with nature, observing objects, and been enthusiastic with painting since childhood. With his painting experiences of childhood and inspirations from his teachers, as well as easing his melancholy spirit during his military career by way of painting, after retiring from active military service, he has made up his minds that for the rest of his life, he is going to invest all of his energy into the exploration of art. With his grasp on the strong points from the techniques of ancient masters, he has found his new life with understanding to the fascinated thoughts of the extensive principles from their practices. By adopting the approach of “half freehand” from Chang Shu Chi, to take into consideration of leave and take between freehand brushwork and flair, neither to neglect basic skills nor to ignore the expressions of spiritual minds. Moreover, in his art works, he has also applied with poetic meanings for the illustration of his personal values, aesthetics and observations to the ecological environments. In the era of disarray between Chinese classical poetry aesthetics and painting, to make analysis of classical art formats from Tu, Tun-Yin in the paper, by which the representations are implied in Poetry, Calligraphy, Painting, and Seal-engraving. Chapter One Introduction. To make introduction of motivations, purposes, research methods, and coverage restrictions in the paper. Chapter Two Background of Painting Era Where Tu, Tun-Yin was from. This chapter mainly talked about the overall situations of ink painting in Taiwan after the war, in this way, to understand how his paintings were interactive with the trends of the era, even though it was at the end of classical ink paintings when Tu, Tun-Yin stepped into the world of painting. Chapter Three The Life of Tu, Tun-Yin. This chapter is also one of documentary investigations, what he has suffered through from childhood to old years on the hardships and treacherous life experiences, as well as lonesome journey of work creations. Chapter Four Analysis of Associations Between Realizations in life And Artistic Abstracts From Tu, Tun-Yin. His art works are reserved, and from his poems and paintings, there are displays of his personality, emotions, and observations to the political society, and studies of natural environments and through the traces exposed in his works, to work on further analysis in the chapter. Chapter Five Analysis of Work Compositions from Tu, Tun-Yin. This chapter is divided into two sections, and one is with statistics on the count of his various painting works and teaching drawing drafts, to record and make analysis of his work contents. Moreover, the other part is to make analysis of aesthetic expressions such as techniques, colors, and spatial compositions in his paintings. Chapter Six Conclusion. To sum up the features and influences on both forms and contents from the art works of Tu, Tun-Yin.
Description
Keywords
杜簦吟, 水墨畫, 花鳥畫, 畜獸畫, 寫意畫, Tu, Tun-Yin, Ink Painting, Flower-Bird Painting, Animal Painting, Free Style Painting