張啟華的畫業－－從日本與台灣近代美術接納的脈絡探討起

Zhang Qi-hua's Achievement in Paninting

在台灣近代繪畫史上，張啟華的繪畫成就佔有特殊的位置。台灣近代繪畫的展開無法忽視與日本畫壇的關係。首先是東京美術學校，其次是文展（文部省美術展）與台展的關係。張啟華出身於日本東京美術學校，而且又出展獨立美術協會，這可說是很特別的。他可以說是相對於官展的在野的反叛性人物。張啟華在日本學習到的首先是塞尚等後印象派的畫風，同時也是從中脫離成為獨立美術協會核心的當時最新穎的野獸派藝術。這種繪畫表現中，有相通於東方文人畫的味道。戰後，獨立美術協會取得日本具象繪畫的主導權；其中心人物在關東的是林武，在關西的是須田國太郎。此次發表論文的旨趣，在於經由日台的緊密美術交流的視野試著來眺望張啟華的繪畫成就。Zhang Qi-hua's achievement in painting plays an important role in the history of contemporary painting in Taiwan. The relationship between development of contemporary painting of Taiwan and that of Japan can not be disregarded-first, the relationship with the Tokyo Art School, and second, the relationship with the art exhibition held by Department of Education, Japan. Chang was educated in Tokyo Art School and also painted for Independent Art Association, which was considered to be extraordinary. As to the government, he was the representative of resistance of authority.What Chang had learned in Japan First was the skill of Cezanne's post-impressionism, and later he learned the technique of Fauvism which was the latest painting style and the central idea of learned the technique of Fauvism which was the latest painting style and the central idea of independent Art Association. The style of Fauvism was somehow resembled to Easterners' ink painting. After war, Independent Art Association became the leader of figurative style, and the representative in Kantou was Hayashi Takeshi, whether the representative in Kansai was Suda Kunitarou. The main point of the thesis is going to research the development if Zhang's achievement in painting by means of the exchange of art between Taiwan and Japan.