李梅樹人物畫研究

Abstract

摘 要 本研究意在了解李梅樹人物畫的表現，運用歷史研究法、理論分析法、風格分析法、比較研究法，試圖了解李梅樹人物畫的風格演變脈絡。具體而言，本研究之目的如下： （一）：探討李梅樹藝術發展歷程。 （二）：分析李梅樹人物畫風格演變與藝術形式之探討。 （三）：比較李梅樹的藝術價值。 （四）：了解李梅樹的藝術教育和參與藝術活動的貢獻。 （五）：綜合前述各像研究結果，了解李梅樹各階段人物作品的繪畫圖式、色彩及技法的演變，以作為整理台灣第一代西畫家研究之參考。 研究結果發現： （一）、生長的環境、個人之喜好及留學東京美術學校對李梅樹作品有決定性之影響。 （二）、日據時期台灣藝術大環境和第一代西畫家繪畫風格的形成有著密切關係。 （三）、李梅樹獨特的「照片式繪畫」開創了人物畫作品另一種表達的方式。 （四）、在美術教及台灣美術活動的參與上，李梅樹扮演的是積極且勇於任事的角色。 綜合前述發現，本研究提出下列結論： （一）、李梅樹用學院的養成訓練來記錄生活，周遭的人物成為他作品題材的重點。 （二）、各年代人物畫都表現出李梅樹對繪畫形態、明暗、色彩三要素的堅持。 （三）、寫實風格是李梅樹人物作品一貫表達的「語言」。 （四）、「照片式繪畫」中的光影水流表現，成就了李梅樹藝術生涯的地位。 關鍵字：李梅樹 祖師廟 照片式繪畫 人物畫Summary This study, based on not only the historical method of investigation and the analytical method of theory but also analytical method of style and comparative method of studying, intents to realize the expression in Mei-shu Li’s figure paintings. On the other hand, the author tries to find out the course of Li’s various styles in his figure paintings changing with time. In general, here are the main purposes of this study. First, exploring the process of Mei-shu Li’s artistic development. Second, analyzing the style change of Li’s figure paintings and to explore the art form of that. Third, making a comparison between Li and other artists. Fourth, realizing Li’s devotion and contribution to art education and artistic activities. Fifth, referring to the results above, the author comprehends the change process of arrangement of presentation, coloring, and skills in his figure paintings in every stage, which the author could make reference to when studying the first generation of western-style painters. The following are what the research has revealed, First, Li’s background, his own interests, and the study in Japan have exerted much influence on Li’s creations. Second, there is a deep relationship between the form of the first generation of western-style painters’ artworks and the art community in Taiwan during the Japanese colonial period. Third, the revealing of Li’s unique “photo-realism style paintings” unfoldedanother new page of methods to display figure paintings. Fourth, Li played an active role and was so willing to be involved in art education and artistic activities in Taiwan. From the statements above, we can reach the conclusions below, First, Li not only kept an eye on the observation of local phenomena under the academic training to record his life but also put the people and the events around him in his artworks. Second, the arrangement, light and shade, and coloring , shown in the figure paintings, are the most important elements that Li insisted. Third, realistic style is Li’s usual “language” in his figure paintings. Fourth, the expression of running water, light and shadow in ”photo-realism style paintings” has accomplished Li’s status in the history of art. Key terms: Mei-shu Li Zu-shi Temple Photo-realism style paintings Figure paintings