斷裂與延續-鄭瓊娟繪畫歷程的發現與詮釋

Abstract

1945年，臺灣結束長達50年的日治時期。戰後不確定的政治社會氛圍，反而撞擊出青年們藝術創新的空間。從1950到60年代，以「五月畫會」及「東方畫會」為代表的畫會團體形成臺灣美術史上的「現代繪畫運動」，帶動當時的年輕藝術家求新求變的熱情，讓臺灣美術從寫實的風格轉變為抽象的風格。

臺灣省立師範學院(國立臺灣師範大學前身)可以說是戰後臺灣的學院藝術教育的代表，延續了日治時期紮實的學院傳統，從題材、觀念與技法等不同的層次，引領著年輕藝術家建立紮實地創作能力。1957年，廖繼春帶領臺灣師院學生組成了「五月畫會」，投入當時世界藝壇已經興起的「抽象」風潮，以純粹的形色表達藝術家的內在思想與情感。鄭瓊娟(1931- )便是五月畫會第一代的成員，曾經參與了臺灣50年代現代繪畫思潮的啟蒙時期，卻在1957年之後便消失在臺灣美術的舞台上，直至1990年代才又出現在臺灣畫壇。本文分成五個重點：首先，追溯鄭瓊娟的家世背景與求學過程；其次，回顧她的藝術啟程與藝術才華的嶄露；第三，釐清她告別創作舞台的艱難歷程；第四，發現她的藝術生命的再出發。最後，本文將針對鄭瓊娟各個年代的繪畫作品進行分類分析。

50年代的臺灣，女性藝術家並不多。鄭瓊娟的繪畫生涯開始於50年代，卻也暫時結束於50年代，直到90年代才再重新出發。她迂迴的歷程，既是一個臺灣女性藝術家個人藝術生涯的滄桑，也正是臺灣現代美術史等代填補的斷裂。只有填補斷裂，歷史才能延續。本文的目的便是在於尋訪臺灣美術史被遺忘的角落，以建立臺灣美術更完整的歷史圖像。In 1945, the period of Japanese rule in Taiwan of 50 years ended. The political and social uncertainty in Taiwan after the war led to the creation of a new space for art and innovation for young people. From the 1950s to the 1960s, the “May Painting Society” and “Orient Painting Society” were representative painting groups that initiated the “modern painting movement” in Taiwan art history, igniting young artists’ passion for novelty and change and turning Taiwan’s art style from realism into abstract.

Taiwan Provincial Teachers’ College (predecessor of National Taiwan Normal University) is said to be a representative of post-war college art education in Taiwan that passes on the solid college traditions during the Japanese Colonial Period and guides young artists to establish solid creative ability from themes, concepts, techniques, and other aspects. In 1957, Chi-Chun Liao led students of Taiwan Provincial Teachers’ College to establish the “May Painting Society” and become involved in the “abstract” trend that had already taken shape in the world art community, where artists’ inner thoughts and emotions were expressed in pure forms. Cheng Chung-Chuan (1931-) was one of the founding members of the May Painting Society who took part in the enlightenment period of modern painting in Taiwan in the 1950s but disappeared from the art stage in Taiwan after 1957. It was not until the 1990s that she reappeared in Taiwan’s art community. This paper is divided into five focuses: First, Cheng Chung-Chuan’s family background and schooling process were traced; second, the start of her artistic career and the revelation of her art talent were reviewed; third, the difficult process of her bidding farewell to the creative stage was clarified; fourth, the revival of her artistic life was discovered. Finally, Cheng Chung-Chuan’s painting works through the years were classified and analyzed.

Female artists in Taiwan were a rarity in the 50s. Cheng Chung-Chuan’s painting career both began and temporarily ended in the 1950s, and it was not until the 1990s that she was ready to start anew. Her roundabout course represented both the vicissitudes of a female artist’s personal art career and a crack in the modern art history of Taiwan needing to be filled. History can only go on when cracks are filled. The purpose of this study is therefore to find the forgotten corner of Taiwan’s art history in order to establish a more complete image of Taiwan’s art history.