| Summary: | 碩士 === 國立成功大學 === 藝術研究所 === 98 === The thesis researches the widespread portraits of Chiang Kai-Shek (蔣介石) experiencing the period of martial law to post-martial era in Taiwan as well as its transformations in contents and forms. In addition, based on these transformations and methods utilized in representing portraits, the purpose of this thesis is to explore the humanistic spirit and value of times behind the portraits through various eras and environments, instead of the history of the portraits nor the comment on life story of Chiang Kai-Shek. Each chapter in this thesis is divided into four sections, which begin with the induction of the context of times in order to understand the fundamental knowledge of the development of the era, the social environment and the atmosphere of art academia. Thereupon, according to the completion year of portraits, the forms and contents of Chiang’ s portraits is analysed in depth. Finally, by means of detecting the transformations about forms and contents represented in the works, the dissertation will indicate the purposes and desire of the artists as well as audience hidden behind the portraits through the various times. The portraits of Chiang Kai-Shek have prevailed all over the country as a symbol of national authority in the martial time, whereas they were deconstructed by artists or even vanished gradually when attacked by the trend of demolishing the idol of Chiang Kai-Shek in the post martial time. Nevertheless, the portraits revive nowadays in the form of merchandises or ”Kuso” sarcasm in Taiwan society. What are the reasons that make the portraits of Chiang Kai-Shek reappear in public with new forms and become acceptable again today? From the past to present days, the presentations of these portraits are quite different on contents, forms and purposes in three periods. Thus, it is worth surveying and contemplating the spirit of times as well as the motivation of creation behind the portraits of Chiang Kai-Shek.
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