豐子愷的山水風景畫與日本浮世風景畫
回上一頁姓名：林素幸
外文姓名：Lin, Su-hsing
刊名：美術學報
第1期 (2006年 10月)
出版年：2006
出版月：10
ISSN：0543-386X
豐子愷於1920年代的作品主要是以黑白人物漫畫為主；1937年以後，豐子愷因為戰爭逃難之故，開始大量地創作山水風景畫。這些風景畫雖然不同於以往豐氏的作品，大多敷以厚重濃麗的色彩，且畫紙漸漸放大起來，但其山水風景畫的風格卻仍然秉持其以往人物畫作品中一貫有的活力、朝氣、驚喜與人文關懷。豐子愷畫中所具有的靈趣和人文意涵，非一般人所能及。更重要的是，在分析了解豐于愷的山水風景畫的風格與思想後，我們不但看到了二十世紀的文人山水畫家如何在傳統與現代中尋找出路，也可以看出豐子愷繪畫與日本藝壇之間密切的關係。
Laio Te-Chen began studying the ”green colors of Taiwanese plants” with a friend upon his graduation from the Tokyo Academy of Fine Arts in 1946. Laio, already influenced by modernist art, wanted to find his own style through localization. Therefore, his stated interest in ”green colors” implied a scientific investigation. At the same time, the plants of Taiwan provided him with a metaphor for cultural consciousness.Laio shared his father's passion for the wellbeing of humanity. His father had engaged in social movements in Taiwan during Japan's colonial period. At the end of World War II rule over Taiwan passed to the KMT. Laio's father was killed in 1947 in the political event known as ”228” because he had condemned government corruption. In the ”Clear Autumn” of 1951 Laio Te-Chen broke his fearful silence on the matter in an effort to memorialize the event.In 1954 Laio played a key role in founding the Chi-Yuang Painters' Society. This society counted among its members Laio, Chen Te-Wang, Hung Rei-Liang, Jing Rein-Tzao, Chang Wan-Tzang and Chang I-Shung. Chi-Yuang artists were not only interested in organizing exhibitions but in conducting group studies of modern art by other artists. Laio especially admired the work of Bonnard. Cezanne's Mt. Victoire paintings, made in his hometown, found their echo in Laio's Mt. Kuan-In paintings since 1970. However, Laio's father had gone missing in the reqionof Mt. Kuan-In. Thus, Mt. Kuan-In paintings also implied the sign of trauma.
Most of Feng Zikai's early works were done in monochrome and the subject matter was cartoon drawings. In the late 1930s and 1940s, Feng began to do a lot of landscape paintings in color. The subject matters changes; however, Feng's art works still carry strong lyrical sense and humanitarianism. Unlike the traditional landscape paintings, Feng's paintings communicate the exhilaration of exploration and discovery. Feng's landscape paintings reveal not only that how a modern Chinese landscape painter bridge the gap between tradition and innovation' but also the Sino-Japanese art scene and relationship in 1930s.