论两岸乡土绘画中「叙事性题材」的图像意义

【作者】 庄明中；

【导师】 袁运生； 易英；

【作者基本信息】 中央美术学院 ， 美术学， 2014， 博士

【摘要】 台湾与大陆有共同的文化渊源及历史背景，近百年来却因政治阻隔，在不同的社会文化环境之下，产生了许多迥异的艺术表现。但有趣的是台湾历经日据时期和国民政府迁台，大陆接受苏联社会写实主义影响，历经文革、伤痕艺术之后，两岸各自在七0年代（台湾）和八0年代（大陆）都出现乡土绘画时期，且都受到美国乡土画家怀斯(Andrew NowellWyeth,1917-2009)的画风影响，这是一个非常值得深入探讨的议题。笔者以两岸乡土绘画中具有「叙事性题材」的画家作品作为研究对象，并以艺术风格研究法、图像学研究法来分析探讨两岸美术对于政治、文化和社会议题的不同响应及图像背后的意涵。本研究归纳出以下几点重要结果：一、两岸乡土绘画的兴起与发展都受到政治因素和西方美术的影响，且经历从西方美术思潮的接收、实验和质疑，并于融会后建立自我表现的在地性，强调生根于自我的文化和土地。二、两岸乡土绘画作品都以现实主义为导向，并忠实反映两岸的社会现象和人民生活，但对于乡土题材，两岸画家的描写态度和心境却不同，且对景物的选择也有所差异，如「台湾是以物托情，大陆是以人抒情」。三、乡土绘画时期对两岸的当代艺术都具有重要的启发意义，笔者通过这个研究，以叙事性绘画做为主题研究，可作为形塑个人绘画风格的重要养分。更多还原

【Abstract】 Taiwan and the mainland’s mainland share the same origin of culture and historical context but havedeveloped many distinct artistic expressions under the different social and cultural environmentsas a result of political barriers over the past one hundred years. Although Taiwan underwentJapanese Ruling Period and the Nationalist Government relocating to Taiwan, China on the otherhand accepted Socialist Realism from Soviet Union and underwent the Cultural Revolution andScar Art. Nonetheless the cross-straits encountered the rise of vernacular paintings in the1970s(Taiwan) and1980s (China) respectively. At the same time, both were profoundly affected by thepainting style of American Vernacular artist, Andrew Nowell Wyeth. This is an issue meritsfurther study. The author selects research objects from artists whose works contain “narrativethemes” in cross-strait vernacular paintings, applying the style of art and iconology as researchmethods to analyze and explore into the different response of cross-strait arts to political, culturaland social issues as well as the implications behind the icons.The study concludes key results in the follows:(1) The rise and development of cross-strait vernacular paintings were both affected bypolitical factors and Western arts, which underwent the acceptance, experiment andquestions for the trends of Western fine arts. Upon integration, both cross straits haveestablished the localization of self-expression with emphasis on the rooting of theirculture and lands.(2) Works of cross-strait vernacular paintings are realism oriented with genuine reflectionof the cross-strait social phenomena and people’s life. However, the cross-strait artistshold different attitudes of portrait and emotions towards vernacular materials as well asdifferences in choice of landscape. For example, Taiwanese artists express emotionsthrough objects while Chinese artists express emotions through people.(3) The vernacular painting period contains an important meaning of enlightenment forcross-strait contemporary arts. The author intends to adopt narrative paintings asthemes for this study, which can be applied as a key factor in forming personalpainting style.更多还原