野獸派色彩對臺灣前輩畫家的用色影響
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2010-10-??
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國立臺灣師範大學美術學系暨美術研究所
Department & Graduate Institute of Fine Arts, NTNU
Department & Graduate Institute of Fine Arts, NTNU
Abstract
本研究旨在探討野獸派色彩對臺灣前輩畫家的用色影響，研究對象為臺灣前輩畫家：廖繼春、郭柏川、張萬傳、蔡蔭棠、陳慧坤等五人。本研究目的純粹就用色觀點歸納出畫家的用色風格，和以三原色與互補色的使用，分析畫家作品用色的特性。得到的結論是，在用色風格上，研究者認為：廖繼春的用色是多元、炫麗又不失調和，而且極富魅力；郭柏川的用色是簡潔俐落、流暢明快；張萬傳的用色是剛勁、濃烈，而且層次細膩豐富；蔡蔭棠的用色是強烈、鮮銳又活潑，並且視覺張力強；陳慧坤的用色是靜謐優雅和穩定和諧。另外，在三原色與互補色的使用上，整體來說，五位畫家偏向喜愛使用藍原色和藍與橙互補色，在個別上，廖繼春最常使用紅與綠互補色，郭柏川的畫面彩度最低，張萬傳互補色使用的最少，蔡蔭棠互補色用的最多，而陳慧坤的畫面彩度最高…等等。
This research intends to explore the Fauvism coloring impacts to those of the Taiwan’s senior and predecessor painters. Subjects of this research are 5 Taiwan predecessor painters: Liao Ji-Chun, Guo Bo-Chuan, Jhang Wan-Chuan, Cai Yin-Tang and Chen Huei-Kun. Purpose of this research is purely summarizing the painter’s coloring style from the coloring perspectives in addition to usages between three original colors and complementary colors prior analyzing the painter’s coloring characteristics.Conclusions acquired are that, in the coloring styles, this researcher acknowledges that:Liao’s coloring is diversified in nature, dazzling but maintaining the coordination essence, therefore, rich in charisma. Guo is clean and tidy, smooth and bright. Jhang’s coloring nonetheless is bold, vigorous and strong in addition to rich and melodious.Cai’ is strong, sharp and lively plus possesses an intense visual effect. Chen’s coloring reflects a rarely quiet elegance and stabilized harmony instead. Additionally, in the applications of the tree original colors and complimentary ones in an overall sense, these five painters inclined to favor the original blue and the complementary colors for both the blue and orange.On the individual basis,Liao Chi-Chun usually applied the complementary colors from both the red and green. The degree of color from Kuo Po-Chuan was the lowest among them.Chang Wan-Chuan employed with the least complementary colors. Tsai Yin-Tang was found to be the one with the most complementary colors in his artworks. Nevertheless, the coloring degree from Chen Hui-Kun seemed to be the highest among them all…etc.
This research intends to explore the Fauvism coloring impacts to those of the Taiwan’s senior and predecessor painters. Subjects of this research are 5 Taiwan predecessor painters: Liao Ji-Chun, Guo Bo-Chuan, Jhang Wan-Chuan, Cai Yin-Tang and Chen Huei-Kun. Purpose of this research is purely summarizing the painter’s coloring style from the coloring perspectives in addition to usages between three original colors and complementary colors prior analyzing the painter’s coloring characteristics.Conclusions acquired are that, in the coloring styles, this researcher acknowledges that:Liao’s coloring is diversified in nature, dazzling but maintaining the coordination essence, therefore, rich in charisma. Guo is clean and tidy, smooth and bright. Jhang’s coloring nonetheless is bold, vigorous and strong in addition to rich and melodious.Cai’ is strong, sharp and lively plus possesses an intense visual effect. Chen’s coloring reflects a rarely quiet elegance and stabilized harmony instead. Additionally, in the applications of the tree original colors and complimentary ones in an overall sense, these five painters inclined to favor the original blue and the complementary colors for both the blue and orange.On the individual basis,Liao Chi-Chun usually applied the complementary colors from both the red and green. The degree of color from Kuo Po-Chuan was the lowest among them.Chang Wan-Chuan employed with the least complementary colors. Tsai Yin-Tang was found to be the one with the most complementary colors in his artworks. Nevertheless, the coloring degree from Chen Hui-Kun seemed to be the highest among them all…etc.