| Summary: | 碩士 === 國立臺灣藝術大學 === 造形藝術研究所 === 96 === Abstract
This paper aims at the correspondence of Chinese water ink paintings in content styles and humanity issues with changes of social structure and time in Taiwan after the War. To begin, the term humanity has to be clarified. In artistic expression, will humanity appear in different levels? In Humanity Development of the Chinese by Tang Junyi, humanity is divided into different levels—non-humanity, transcending humanity, secondary humanity or anti-humanity. Chinese water ink paintings are somewhat connected to this. Origin of humanity beauty spirit is explored as the foundation of analysis of humanity in Chinese water ink paintings in Taiwan after the War.
In the scope of space and time of Taiwan after the War, the basic element of analysis is publicly solicited works at major fine art exhibitions during the period. After careful evaluation and analysis, the researcher selects the works at National Fine Art Exhibitions, Provincial Fine Art Exhibitions, and Central Taiwan Fine Art Exhibitions after collection, conclusion and classification to understand major fine art movements in Taiwan such as Neo Fine Art Movement in Japanese Colonization, disputes of legitimate Chinese water ink paintings, trends of modern water ink paintings, mainland Chinese water ink painters in Taiwan, native soil movement in 1980’s and diversity in 1990’s. Causes of changes in humanity in the corresponded works are discussed.
Under the subject of humanity issues, eleven types of water ink paintings issues are established and five humanity phases are concluded after quantification analysis: 1) transcending humanity expression between 1959 and 1970, 2) transition period from transcending humanity and realism humanity from 1971 to 1980, 3) realistic expression of humanity from 1981 to 1990, 4) symbolic and metaphoric humanity expression between 1991 and 2000, and 5) enhancement of symbolic and metaphoric humanity expression between 2001 and 2008. Explanations are made on these five periods in the hope to make the researcher or those who are also interested in to look at the development and extension of water ink paintings in Taiwan from another angle.
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