從外在到內在的抽象繪畫探索──藝術家陳德旺

Exploring Abstract Paintings from the External Forms to the Internal Visions—Chen Te-Wang

在臺灣現代美術史中，論及抽象藝術，大多將焦點投射於1950年代到1960年代的「現代繪畫運動」，少有談到超越省籍、跨越世紀，同樣在臺灣抽象藝術有著精彩表現的陳德旺（1910-1984）、李德（1921-2010）這一系的藝術脈絡。由具象的描繪漸進到抽象的視域，陳德旺窮盡畢生的追尋與淬煉，獲致於藝術中得於呈現之純粹的生命與存在。他以形色深層思考，循著西洋藝術史的軌跡，不斷地突破探究，深刻地洞察自然，徹底的造形追求，拓展了臺灣抽象藝術的新頁。透過單純脫俗的題材形式，陳德旺探尋永恆的秩序與規律，將景象氛圍轉譯為記憶的關注，藉由充滿變化的色彩、光線，刻畫出詩意的氣息，情境優雅含有韻味，與心靈相互相映，是外化其內在精神孕育的結果。從「行動美術集團」到「紀元美術會」，顯現他對信念的堅持，執著研究本質的創作取向，在臺灣現代藝術的發展，建立起在野的另一種表現。本文以陳德旺的藝術歷程為背景，探討他在既有的展覽體制下，以美術運動表達訴求，繼而分析作品系列，解讀造形思維的演變關係，逐步釐清陳德旺的創作面貌。

In the history of Taiwanese modern art, discussions on abstract art mostly focus on the“modern painting movement”of the 1950s and 1960s. Few touches on the artistic lineage exemplified by Chen Te-Wang (1910-1984) and Read Lee (1921-2010), who crossed provincial and generational boundaries and achieved great heights in Taiwanese abstract art. From realistic representations to abstract visualization, Chen spent his whole life in the transcendence of this pursuit, achieving pure life and existence in his art. He thoroughly examined shapes and colors, and, tracing the history of Western art, constantly crossed boundaries to gain deep insight into nature. Through simple, elegant subject matters, Chen’s search for eternal orders and patterns translated atmosphere into attention to memories. With varying colors and light, he created poetic atmospheres and elegant nuance that reflect his soul. This came from externalizing his internal spiritual nurture. From“Mouve Artists' Society”to“Era Art Association,”we see his persistence on a research-oriented artistic process that formed an oppositional expression in the progression of modern art in Taiwan. Based on Chen’s artistic career, this study explores how he furthered his cause through art movements within the existing exhibition system. It then analyzes his series of works, interprets the evolution of his thoughts on shapes, and gradually clarifies Chen’s artistic identity.