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陽明山
登錄號:PT06906700的圖片(PT06906700-1 拷貝.jpg)(CC BY-NC),第1張,共1張
  
登錄號:PT06906700的圖片(PT06906700-1 拷貝.jpg)(CC BY-NC),第1張,共1張
典藏單位:國立中正紀念堂管理處
館藏編號:PT06906700
陳進
尺寸:68×92 (畫心)
陳進(1907-1998),新竹香山人,日治時期台灣第一位女畫家。就讀臺北第三高等女學校時,受日籍老師鄉原古統的賞識及教導。1925年赴日本東京女子美術學校學習。1927年,以《姿》、《罌粟花》、《朝》等三件作品入選第一回台展,與林玉山、郭雪湖合稱為「台展三少年」,名聞全台。其後每年皆有佳作入選台展與府展。
陳進於留日期間,曾進美人畫大師鏑木清方門下研習仕女畫,作品的形式及內涵皆深受其影響。初回台時,以描繪古典女性與花卉題材為主。陳進的作品多透過自身觀察體驗,表現個人家居生活及婦幼畫面。1946年「省展」開辦後,傳統山水畫逐漸取代膠彩畫,陳進於1947至1950年間嘗試融合膠彩與水墨,表現阿里山、日月潭的壯麗風景。1960年後,陳進經常至野外寫生,而旅美經驗更激發她對異國風景的不同認識,其風格筆調亦由穩重精練轉向清亮活潑。
此作以水墨設色表現陽明山春日景色。畫中雖以墨線勾勒樹幹,卻以更自由的皴擦筆法營造山巒景色,染色手法特別帶有膠彩畫的趣味。膠彩畫注重色、墨之間的協調,比起水墨畫的強調線性,更重視畫中的氛圍營造。陳進巧妙運用色墨的輕重變化,引導觀者視線至中景的黃、粉紅與綠色葉叢之上,再畫龍點睛地安排中間刻畫細緻的涼亭與人物,風格清淡雋雅、收放自如。(504字)
Chen Chin (1907-1998), born in Xiangshan, Hsinchu, is the first female painter in Taiwan during the Japanese rule. When she was studying at the Taihoku Third Girls' High School (current Taipei Municipal Zhong Shan Girls High School), she was taught by her Japanese teacher Koto Gobara. In 1925, Chen went to Japan to study at the Tokyo Female Art School. In 1927, her works “Pose,” “Poppy,” and “Morning” were selected for the first National Taiwan Art Exhibition. Together with Chen Chin and Kuo Hsueh-Hu, she was considered the future of Taiwan Art Exhibition. Every year since then, her best works have always been selected for the Taiwan Exhibition and the Government Exhibition.
During her stay in Japan, Chen Chin studied the traditional Chinese painting of beautiful ladies under Kiyokata Kaburagi, who greatly influenced her later works. When Chen first returned to Taiwan, she focused on depicting classical women and floral themes. Most of her works express her personal experience and observations of daily women and children scenery. After the opening of the "Provincial Exhibition" in 1946, traditional landscape painting gradually replaced gouache painting. From 1947 to 1950, Chen Chin tried to integrate gouache and ink to express the magnificent Ali Mountain and Sun Moon Lake. After 1960, Chen Chin often travels to the wilderness for sketching and inspirational purposes. Her experience in the United States further stimulated her different understanding of foreign landscapes. As a result, Chen's style shifted from the traditional to a more innovative, bright approach.
This work uses ink and watercolor to represent the spring scenery of Yang Ming Mountain. Although the tree trunks are outlined in ink, the painting uses numerous Chinese art techniques to portray the mountainous landscape. In fact, her coloring techniques resemble that of gouache painting. Gouache paintings focus on the coordination between color and ink and place more emphasis on creating an atmosphere than ink and wash paintings, which emphasize linearity. Chen cleverly uses light and shadows to guide the viewer's eyes to the yellow, pink, and green leaves in the middle scene where the finely carved pavilions and figures stand. Her style is light and elegant.
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