城市景觀主題之轉變：以葉仁焜、涂智惟、林子瑜作品探討

Looking at the understanding and transformation of Eastern Media in Taiwan after 1980 through works on urban landscape themes

文明演進，人類歷史上發展出了各種類型的人口密集區域與聚落，當都市史研究者將其進行斷代、歸納時，重要的參照點便是生產方式與生活模態的重大轉變。約莫1980年之後，台灣正式進入工業社會，呈現高度現代化、都市化的狀態，本文以西元1980年後出生的三位東方媒材創作者：葉仁焜（1984-）、涂智惟（1989-）、林子瑜（1994-）之作品、訪談紀錄、創作自述作為研究對象，企圖觀察於現代化、資訊化社會下成長的創作者，作品中對於當代社會的感受與表達，進而延伸出的東方媒材觀念轉變。在第貳部分，筆者將同樣描繪都市景觀的前輩巨作〈榮町通〉與〈南街殷賑〉進行分析，希望理解其中對於城市景觀表現所著重之處何在，並有利於後續結論中進行比較與歸納。第參部分則正式進入葉仁焜、涂智惟、林子瑜的作品進行分析，筆者以與〈榮町通〉、〈南街殷賑〉相似，以建築物、城市人造建物為主要表現對象之作品為分析對象。一方面探討創作者對城市的觀感與感受為何、與前輩創作者有何差異另一部分關注於這些創作者如何轉化東方媒材的古典視覺形式，對他們的城市感受進行表現。最後在第伍部分進行綜合比較、歸納結論，並且提出其中的發現與感悟。

This article uses the art works, interview records, and art discourse of three Eastern Media artises from the 1980s generation in Taiwan: Jen Kun-Yeh (1984-), Chih-Wei Tu (1989-), and Tzu-Yu Lin (1994-) as the research objects. After the 1980s, Taiwan formally entered an industrial society, showing high modernization and urbanization. The three artists painted urban landscapes in their artworks, showing that they are focusing on their times. On the other hand, after the dramatic change, the expression and recognition of Eastern Media in the post-1980 generations in Taiwan have changed. In order to understand the differences, in Part II, I analyzes the earlier period works ''Sakaetyou Tou'' and '' Festival on South Street'' that also depict urban landscapes, to conducive to comparison and induction in follow-up conclusions. The third part focuses on the 1980s generation artist's perception and feeling of the city, and how it differs from previous artists. The fourth part about how these artists use Eastern Media to express their urban feelings, and it also shows how the understanding of Eastern Media has changed. Finally, in the fifth part, a comprehensive comparison and conclusion are made.