| Summary: | 碩士 === 國立彰化師範大學 === 藝術教育研究所 === 96 === Art in any form is used to carry for future generations the culture, life style and times of a generation. Art education is needed to interpret the message carried in these work of art, be it poetry, dance, painting, etc. to common people. In the present theses an attempt is made to bring out the efforts of three great artists of Taiwan who lived during the Japanese occupation of Taiwan. We have come to know a lot of the lives of the people of Taiwan and its semitropical landscapes through their simple water color paintings. In the days their masterpieces still stand out.
The art education in the Japanese colonial period laid the foundation for the fine arts movement in Taiwan. The older generation painters lived under an unequal and arduous environment of the education system, but still demonstrated the firm endurance of the people of this island.
Mr. Ishikawa came to Taiwan to teach art paining. The young painters of that time came under his influence and were encouraged and inspired by him. His influence is diverse. The Taiwanese youth of that time learned to observe their own native landscape, paint from live real life scenery they observe. They also pursued scholarly work such as teaching painting methodology, aesthetic values, attitude of conducting oneself, etc. Students admired and absorbed from the teacher's kind, humorous, witty, graceful, elegant and simple manners. They learned to apply these elegant artistic views, transformed in a perceptible manner, into their one's own artistic creation. Mr. Ishikawa was also responsible for activating an art that needs deeper thinking.
Mr. Ishikawa's painting skills and techniques are seen in the graceful brush strokes in painting and calligraphy. His simple and elegant style brought life into the paintings of the native landscape. They also represent his life full of aesthetics. Mr. Ishikawa carried the nostalgia and romanticism of his native land into his painting of the Taiwanese landscape and they represent the view as seen through the eyes of a Japanese painter. Did his students reflect this phenomenon in their paintings? No. His disciples, while describing the natural beauty of the scenery of Taiwan, brought the beautiful expression, representing local culture and reality.
In the application of color, Mr. Ishikawa used hues that are light, fresh and elegant that are characteristic of the Japanese culture and surroundings, with contrast colors emphasizing on the visual impact. The work of the disciples on the other hand reflects the thick strongly fragrant colors of the national characteristic such as bright sunshine, the misty subtropical environment, with gorgeous tones representing straight and passionate styles.
On the painting skills, Mr. Ishikawa gives more importance to the technique than the feelings. Thus his technique brings out his feelings. He expressed the rhythm of color and light to represent beauty. He also used a combination of light and colors to give a depth to his paintings. The lines in his paintings are smooth and move fluently. His first student Mr. Ni Jiang-huai followed Mr. Ishikawa’s technique and style totally all through his life. Mr. Ran In-ting is a naturally gifted painter and learnt his skills fully from his teacher. While his paintings reflect the mastery of his teacher they also show a development of his own style. His paintings reflect his feelings. He used his concept to lead his feelings. He draws lines confidently bringing about dramatic effects. His paintings also reflect the rich Chinese style. Mr. Lee Tze-fan, the third student of Mr. Ishikawa shows loving care for the feeling of the land while observing social life deeply. He was involved in presenting real life in his paintings showing the value of people and culture. His painting style is down to earth being steady, rich, and sincere. On the whole, the artistic work of Mr. Ran, In-ting and Mr. Lee Tze-fan reflect the inner heart and the external reality of the social and cultural life and environment of their times.
Through insistence and persistence, the three disciples of Ishikawa laid a foundation to the art of water color painting while observing and presenting the special natural conditions and social customs in Taiwan in their paintings. Through their spontaneous feelings and a long time practice they established their faith in watercolor paintings. They used their own eyes to examine the natural beauty of their land closely and presented it to their viewers through their paintings. Thus their paintings represent the scenery as seen through their eyes and reflect the natural pulsation, temperature, the shades, the real hues, tone and chrome of color of Taiwan Landscape. They present trough their paintings the surrounds, the sunshine, the seas, the meadows, the scents in the air and a tropical pastoral image of the beautiful Land of Taiwan for the posterity. Their paintings preserve the collective history of Taiwan and are a witness to the development of art movement in Taiwan.
Through their efforts and break-troughs Ishikawa and his brilliant students left behind foot prints taken one at a time revealing the glory of the great artists. From this we see their firm strength as they go from simplicity to complexity. As it is said that to be simple is the most difficult sometimes and greatness lies in simplicity. The proof for this, as in mathematics, comes from the theater of the human life and is no exception as seen from the foot prints left by these great artists.
The researcher realizes that it is important to trace the history of art education in Taiwan. In the past hundred years the art in Taiwan has grown leaps and bounds with the focus shifting to oil paintings. But the water color paintings of these three students of Ishikawa cannot be ignored. Let us cherish the memory of Mr. Ni Jiang-huai, Mr. Ran In-ting, and Mr. Lee Tze-fan who gave their lives to the promotion of water color paintings. I present my most profound and heartfelt respects to all of them through this thesis.
This study focuses on these developments in six chapters which will discuss the theoretical and structural basis of the research. In addition, art works are also provided as supporting evidence.
Chapter one introduces, the research background and motivation, the purpose, method, range, restrictions and structure. Chapter two documents discussions, about the introduction of research backgrounds related to this research. It is divided into the research of Taiwan art history during Japanese colonial period, art education history of that period, a history of landscape painting development, research into the paintings from western world and Japan, and history of the development of watercolor painting in Japan and Taiwan. Chapter three introduces the main part, i. e. Mr. Ishikawa interacting with his students. It also includes Mr. Ishikawa’s personal life history, his education methodology, aesthetic concepts, art works, and his influence and contributions. To prevent the appearance of a bias, a brief mention is also made of other students who learned from Mr. Ishikawa besides Mr. Ni, Mr. Ran, and Mr. Lee. Chapter four gives an account of about the personal life history, special personality traits, attitude of creating, the way they looked at the nature, artistic concepts, aesthetic views, the statements from other people about the painter, the contributions, and the watercolor works of Mr. Ni, Mr. Ran, and Mr. Lee. Chapter five gives a comparison of the teacher and his students. It relates to their art works, describes how the official exhibitions influenced their standing in society, and acted as means to compare their works in content and form, and how the disciples went out on their own paths finally to create their individual unique styles. Chapter six the gives the conclusions based on the points raised in this study and takes personal responsibility for the shortcomings in the presentation.
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