碩士 / 國立臺灣師範大學 / 藝術史研究所 / 105 / Starting the new trend of the Shanghai painting school began from the middle of the nineteenth century. At the beginning artists were used to focus on subjects of bird-and-flower. It was the first part of the twentieth century, painters began to represent landscape painting again. Under the idea of reviving landscape painting at that time, painters were eager to absorb external cultures to create new styles to distinct from the orthodox school, so called “Si Wang（四王）”in the late Qing dynasty. At that time many scholars such as “Kang You-wei” (康有為 1858-1927), “Liang Qi-chao” (梁啟超1873-1929), “Lu Xun” (魯迅1881-1936), and “Tsai Yuan-pei” (蔡元培1868-1940), advocated to integrate Chinese cultures with western aesthetics. As the ideological trend, this idea encouraged many painters went abroad to Europe or Japan to learn western painting and Japanese painting.
Tao Leng-Yue was one of artists of the Shanghai painting circles who were very keen to create new styles of landscape painting in the first part of the twentieth century. However he didn’t follow other painters who left for studying abroad, he studied traditional Chinese painting in China instead. He learned not only the technique of brushwork and the composition, but also the literati spirit of the traditional China. In the styles of Tao Leng-Yue’s paintings, we could see that he adopted diverse forms from traditional Chinese painting to represent his cultivation of Sinology. He found a way to create new styles by not only combining the poetry and painting, but also keenly deriving nutrient from Western and Japanese painting.
The researcher explores Tao’s new styles through analyzing his paintings and finds the interesting relation between Tao Leng-Yue’s paintings and Japainese paintings schools such as “Kano school”, “Maruyama School”, “Akita Ranga”, “Statsu and kren School” and “ukiyo-e.” The researcher also finds that Tao’s paintings have a close relationship with Western paintings such as 〝Realism and Impressionism. The researcher goes further to discuss how the composition and elements of Japanese paintings and notion and technique of Western painting to effect on Tao Leng-Yue’s paintings. As a result Tao Leng-Yue could integrate elements of western and Japanese paintings with poetry and calligraphy of Chinese tradition to represent his new style of paintings distinct from traditional paintings at that time.
| Identifer | oai:union.ndltd.org:TW/105NTNU5545002 |
| Date | January 2017 |
| Creators | Lin, Chia-Yu, 林家聿 |
| Contributors | Tseng, Su-Liang, 曾肅良 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 254 |
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