| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系在職進修碩士班 === 97 === Taiwanese cityscape paintings have been discussed or studied in fine art or architecture space from time to time. In spite of that, there are rarely sufficient analyses and studies on the historical development of Taiwanese cityscape paintings created during the post-war period. Therefore, this research hopes to establish the history of development of Taiwanese cityscape paintings and painters in order to encourage academia to approve this subject and to be interested in researching it. Also, this research also explores city image and implications to understand people’s viewpoints towards cities. In addition, through interdisciplinary research, this research also discusses the planning of city space and its meanings and implications. It is hoped to provide references for the future’s city planning.
In the dissertation, “city” and its “city image” are taken into the research as main subjects. The contents deal with visible “cityscape” and invisible “city space” and their emotional influences and relationship with “humans.” In the dissertation structure, Taiwanese cityscape painters and their paintings’ history of development during 1945 to 2000 are first explored. Then, the cityscape paintings during 1980 to 2000 are brought for in-depth discussion because it was the most productive and abundant period for this kind of art form. In this discussion, city images in the three cities located in northern, southern and central Taiwan are considered first. Then, in a general approach, elements that are visible on the surface of the paintings are taken for research, especially about their symbols and relevant relations. Finally, the spatial elements which cannot be seen easily on the paintings’ surface are profoundly analyzed and brought into a further discussion. Overall, this research’s conclusions are listed as follows.
First, the cityscape paintings have their independence and importance in Taiwan’s fine art history.
Secondly, there is a close relationship among Taiwanese cityscape painting development, political situation after martial law was abolished and city development.
Thirdly, in the representation of Taiwanese cityscape paintings from 1980 to 2000, true city looks are conveyed. In the process, most city images and expressed elements have negative implications and also pictorial city space is transferred into the space with loss of locality, with short-term Affection Space, and with Lost Space.
Fourthly, by researching Taiwanese cityscape paintings, it is realized that the “human” factor should have been much considered while city planning proceeded.
This research wishes to stimulate Taiwan’s art creators to proceed with reflection on their own living environment and city planners to build humanistic cities which are beneficial to interpersonal relationship and emotions. It is also wished furthermore that citizens can concern themselves with their own living environment and then create their own city works. All these wishes should come together so that the maximum harmony among city, human, and natural features can be achieved in the end.
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