日治時期新竹地區水墨畫發展之研究

Abstract

本文探討日治時期新竹地區的水墨畫發展，首先對該地區清代的社會發展及藝文狀況做了一些探究，發現藝術活動的推展和社會領導階層的文質化密切相關，初期的藝文活動僅限於少數的士紳階層及客寓人士，參與藝術是高社會地位的表徵、是上流社交活動的一環，也是儲存文化資源的方式，透過地方士紳的贊助、推動及參與，清代中葉新竹地區藝文活動之盛為北台之冠，為地方藝術發展奠下良好的文化根基。 其次探討殖民政府新體制下新竹地區的社會發展、書畫活動情形。透過《台灣日日新報》相關報導的整理，勾勒出書畫益精會及麗澤書畫會成立的過程及活動情形，並根據上述活動及作品落款等，歸納出水墨畫蘊涵的社會功能。 再者分析日治時期新竹地區的水墨畫作品，舉出若干重要的大陸來台及在地水墨畫家，分析其作品題材與風格。來台畫家風格上未脫大陸畫風的窠臼，雖以擅長花鳥畫者居多，但以擅長人物畫的李霞對地方的影響為最；至於在地畫家仍舊沿襲中原的畫風，不過，善於山水畫者較清代明顯增加，與其書香背景及當時中流以上社會階層的休閒喜好有關。 最後總結全文，並提出本文研究限制及待繼續探究之處。ABSTRACT This thesis aims at discussing the development of Chinese brushwork during the Japanese colonization in Hsinchu Area. First of all, the discussion focuses on surveying the social development and the promotion of artistic activities in Chin Dynasty in that area. The survey reveals that the promotion is highly related to increasing literati in the leading strata of society. The early artistic activities merely belongs to literati and visiting people from Mainland. The participation in these activities not only signifies one‘s social status as being part of the upper class but also presents a way to preserve cultural sources. With patronage, promotion and participation coming from literati, the prosperity of artistic activities during Mid-Chin Dynasty in Hsinchu tops the rest areas in northern Taiwan and lays a favorable cultural foundation in local artistic development. Secondly, the discussion relates social development and activities about calligraphy and painting under Japanese colonization in Hsinchu area. The establishment of two calligraphy and painting societies, i.e. Yijin and Lize and their movement have been depicted through the data collection from Taiwan Daily News. In addition, the social function implied in the brushwork at that time is induced from the movement as well as calligraphers‘ or painters’ signatures and dedicatory notes. Thirdly, the data analysis mainly deals with brushwork in the period of Japanese colonization in Hsinchu by studying the theme and style of the works done by a number of important visiting brushwork painters from Mainland and local painters. Most visiting painters inherit the style found in Mainland and are good at painting flowers and birds; yet Lixia who are good at painting people has the greatest influence in local artistic style. Like visiting painters, local painters also adopt the same style used in Mainland. Nevertheless, there is an increasing number of painters who become good at painting natural scenery during this period compared with Chin Dynasty. This has to do with the recreational activities involved in the life of people from mid-upper class and those with literati background. Finally, the summary is given, together with the limitations of this study and the area for further research.