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題名:「膠」顏欲語?──膠彩畫家對女性形像的觀看方式(以「省展」六十年間前三名與優選的膠彩作品為例)     (54點)
Whispers of Glue Colors?--Glue Color Painters' Views to Feminine Images--(Works of the Top Three and Excellence Prizes Winners from the 14th to the 60th Taiwan Provincial Fine Arts Exhibitions)
著者:李美玲(Mei-Ling Lee)
出版地區:台灣
出版城市:台中市
學科:藝術 ; 禮俗
關鍵字:臺灣 ; 省展 ; 膠彩畫 ; 性別語言 ; Taiwan The Taiwan provincial Fine Arts Exhibition glue color painting gender language
刊名:藝術與文化論衡
卷期:創刊號(2010.9)
頁碼:81-107
語言:繁體中文
摘要: 中文摘要PDF ; 英文摘要PDF

六十屆(1946~2006)的「臺灣省全省美展」培育出極具份量的台灣畫家,更積累出豐富的畫作。因此本篇論述將從省展中獲得前三名與優選的膠彩畫作,探討女性形象在這六十一年的時光流轉中,在男女畫家的筆下呈現出何種的轉變?但省展第十四屆前並無出版獲獎作品圖錄,因此本論述鎖定在第十四屆~六十屆獲得前三名與優選的膠彩畫作?探討的文本。 第十四屆~四十屆間,女膠彩畫家筆下所呈現的是延續日治時期台灣上層階級仕女的理想典型;男畫家則著重於描寫接受現代化思潮影響的自信女性、面目模糊的勞動女性和表現親情與母愛的異俗女性?主。第四十一屆~五十屆間,男畫家除以寫實的手法描繪女性所身處的空間,更將有關女性普遍化的題材,如母愛、信仰與少女情懷具體呈現在畫作裡;女畫家則趨向於表現女性個別自我的心緒轉變與個體面容的細膩情感呈現。第五十一屆~六十屆間,畫家以分割或解構畫面的手法建構出虛實相間的空間,女性形象於此已成?符號象徵,只是在男畫家的筆下,女性成?情愛慾念、大地之母、家庭組成元素與美的象徵,屬社會化的認知;而女畫家則多是將自我在現實環境裡所感受到社會對女性的制約、自我的掙扎與質疑投射到畫作的女性形象上,對女性之美的描繪也較?純粹。 第十四屆~六十屆的省展中獲得前三名與優選的膠彩畫作,不僅呈現出膠彩畫家女性人數的更迭與學習膠彩畫的起落,更藉由畫作中女性形象之轉變,了解男畫家雖能描繪女性之美與情,但因身份別的限制,畫作偏向對女性日常生活的觀察與傳統社會化認知的層面;而女畫家則因身分的同質性,反能體會到女性細膩的情感轉折與掙扎,透視女性深藏於心的情與思,顯示出男女膠彩畫家對自我筆下的女性形象有著不同的觀看方式。
The Taiwan Provincial Fine Arts Exhibition that lasts for 60 years (1946-2006) has cultivated quite a few important Taiwanese artists as well as collected abundant artistic works. This essay will examine glue color paintings of the top three and excellent prizes winners from the Exhibition and study the transformation of feminine images presented by these men and women artists in the past 61 years. This essay highlights glue color works of the top three and excellent prizes winners from the 14th to the 60th exhibitions only due to the lack of any images of the awarded works before the 14th exhibition. From the 14th to the 40th exhibitions, women in glue paintings of female artists were presented as typically beautiful ladies of the upper class in Taiwanese society during the Japanese colonial period while male painters featured modern and confident women, working women with vague faces, family women, and maternity of women of different ethics in South-east Asia. From the 41th to the 50th exhibitions, apart from depicting the space where women were by means of realistic art skills, male painters also presented common themes such as maternity, women's belief, and young girl's emotion and mood. As for female painters, they tended to show the change of the emotion of each individual woman and the sensitive feelings by drawing minute facial features. From the 51st to the 60th exhibitions, painters constructed virtual and actual spaces by cutting or deconstructing a picture. The women image since then has turned into a signifier or a symbol of erotic desire, the Mother of the Earth, an element of a family or a symbol of beauty in men's works. These were also social recognitions to women. As for female artists, they projected the social restrictions they themselves confronted as well as the self-struggle and self-doubts they experienced in that environment onto the feminine images in their works. The expressions of women's beauty were simpler. The glue color paintings of the top three and excellent prizes winners of the 14th to the 60th Taiwan Provincial Fine Arts Exhibitions not only show the fluctuating growth of female glue color painters but their process in learning. By the transformation of the feminine images in these works, one could observe that male artists are able to depict women's beauty and emotion, however, their woks, due to the gender limitation, are limited to the daily-life observations to a woman or are created from traditionally social recognitions. As for female artists, with the same sexual identity, they could recognize delicate changes and struggles of a woman's inner feelings and to penetrate the sentiment and thoughts deep inside. All of these above show different perspectives of male and female painters toward the feminine images.


    

本卷期目次
藝術與文化論衡 創刊號 (2010.9)
《一個中國藝術家的宇宙觀》導論──以「新六玄論」宇宙的時空定位/ 姜一涵
性別平等的法律保護/ 周宗憲
性別史研究的失焦與對策──從明清筆記小說中的婚姻與情慾案件談起/ 陳瑛珣
從《金瓶梅》婦女服飾看明中後期「民間服制」/ 陳志昌
金庸武俠小說女性俠客的情感典型/ 陳韻琦
「膠」顏欲語?──膠彩畫家對女性形像的觀看方式(以「省展」六十年間前三名與優選的膠彩作品為例)/ 李美玲
 
   
 
   

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