陳德旺與李德的繪畫思想的關係之研究

Abstract

抽象繪畫在台灣現代美術的歷程中，持續發展且獲得了出色的成果，其中，陳德旺和李德的創作，一脈相承，自成一系，著重造形語言的深層價值。藝術脈絡的建構是藝術史的重要一環，因此，本論文的研究動機即來自於想要深入理解從陳德旺到李德的繪畫思想，它不僅有其重要的意義，甚至有其必要性，尤其藝術家與其傳承之間的關係，就如同他在藝術上的創新一樣，有著密切的相關性。從台灣抽象繪畫的發展歷程中，我們可以發現，它涉及了審美觀點的改變、藝術體制的變遷和美術運動的興衰，實際上幾乎關聯到台灣現代美術史的所有面向。因此，本論文以陳德旺與李德的繪畫思想為議題，回溯兩人身處、涉及的西方、台灣抽象繪畫的藝術史脈絡，逐步探討他們的藝術歷程、創作信念和作品形式等，繼而進一步思索與研究兩者思想上的演變關係。本研究以歷史為架構，以作品為核心，透過藝術史學方法和藝術評論方法，發現陳德旺與李德的繪畫思想有其繼承性、類同性，也有差異性，歸納總結出以下六點：一，同樣堅持藝術本質的創作信念；二，同樣重視藝術傳統的探索視野；三，以各自方式探討自然；四，深入造形與色彩—「面」與「線」的差異觀點；五，在主題上的不同選擇；六，對創作意識的分歧見解。

本論文的研究目的，不僅試圖關注過去，也試圖關懷當代，一方面以陳德旺與李德為對象，放入台灣現代美術史的脈絡去審視、省思，重新探索台灣的抽象繪畫，這是一種對美術史的再思考，也是一種對藝術家創作的再梳理。另一方面，透過追溯台灣現代美術的歷程，了解藝術家如何面對西方的藝術思潮，在時代審美典範的轉變下逐漸成長，將有助於對台灣當代藝術有著更開闊的視野，提供深刻且富前瞻性的參考價值。In the history of modern art in Taiwan, abstract painting has grown continuously and reached considerable heights. Artists Chen Te-Wang and Read Lee formed their own succession of tradition in this context, focusing on deep values in form language. Delineating an artistic tradition is a key part of art history. Therefore, the motivation for the present paper lies in further understanding the interaction between Chen Te-Wang and Read Lee on the painting thinking, which is not only meaningful but also necessary. The relationship between an artist and his successor, in particular, is as closely relevant as his artistic innovations.In the history of abstract painting in Taiwan, we can see that it involves shifts in aesthetic perspectives, evolution of artistic systems, and the rise and fall of artistic movements. In fact, it is connected to almost all aspects of the history of modern art in Taiwan. For such reasons, the present paper takes the painting thinking of Chen Te-Wang and Read Lee as the subject, tracing the Western and Taiwanese abstract painting traditions in which they are placed and involved, in order to investigate their artistic development, creative thought, and the forms of their art. The paper then further explores and investigates the evolution in thought between the two artists. The present paper is based on history as a framework and the artworks as the center, through methods of art history and art criticism, discovering that the respective painting thinking of Chen Te-Wang and Read Lee feature qualities of inheritance, similarity, as well as distinctiveness, which is summarized in the following six points: (1) the same creative philosophy based on uncompromising artistic integrity, (2) the same emphasis on the explorative visions on artistic traditions, (3) respective ways of exploring nature, (4) differing perspectives on form and color – “planes” versus “lines,” (5) differing choices of themes, and (6) divergent interpretations on creative consciousness.The purposes of the present paper lie not only in attempting to pay attention to the past but also in taking interest in contemporary developments. On the one hand, it places Chen Te-Wang and Read Lee in the context of the history of modern art in Taiwan for examination and reflection and for renewed exploration into abstract painting in Taiwan as a kind of re-thinking about art history, which is also a kind of re-organization of the artists’ works. On the other hand, the paper, by tracing thedevelopment of modern art in Taiwan, seeks to understand how the artists responded to Western artistic movements and grew as the aesthetic paradigm shifted, which will help broaden our visions on Taiwanese modern art and serve as an insightful and visionary reference.