A Study on Kuo Po-Chuan’s Artistic Style of New Eastern Fauvism

• Main Authors: Yun-TzuHsu, 許勻慈
• Other Authors: Mei-Chin Liu
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/87177526303876563916

碩士 === 國立成功大學 === 藝術研究所 === 101 === This research focuses on the artistic style of Taiwanese artist Kuo Po-Chuan (1901-1974). The aim of this research is to explore how Kuo created the new artistic style titled Eastern Fauvism and how it impacted Western art. Moreover, Kuo’s artistic style shows not only national consciousness, but also self-reflect and endemically emotion. There are two main elements included in the literature review section, namely: Kuo’s life background and the interaction between Eastern and Western Fauvism. Firstly, Kuo’s background was described accordingly based on the development of sociology of art. Secondly, the style of Kuo’s “New Eastern Fauvism” was illustrated by style analysis. Kuo’s new artistic style is closely related to Western Fauvism and Eastern spirit. On the one hand, Kuo combined several characteristics of Western Fauvism, including its compositions, color styles, lump compositions, details and shadows simplification, primary colors usage and subjective colors usage. On the other hand, Kuo painted on xuan paper with oil painting pigment to address Eastern spirit. Accordingly, he added local ornamentations to express the Chinese nationalism and Chinese painting skills. In conclusion, Kuo’s artistic style ‘New Eastern Fauvism’ was integrated Western Fauvism and Eastern spirit. It is worthwhile to note that Kuo addressed rational and mild characteristics of Eastern spirit to present the rave style in Western Fauvism. Meanwhile, his paintings demonstrate not only Eastern nationalization and localization, but also rave style. In accordance with findings of the research, Kuo’s idea pursues the characteristic of era, nationality and ego. Moreover, based on its external (appearance) and internal (state of mind) quality, Kuo’s works can be explained from the perspectives of Western Fauvism as well as Eastern spirit appropriately. In addition, the Historical positioning and Innovation value of Kuo’s ‘New Eastern Fauvism’ can be clarified by this research.