指導教授：顏娟英臺灣大學：藝術史研究所詹凱琦Chan, Kai-ChiKai-ChiChan2014-12-012018-05-292014-12-012018-05-292013http://ntur.lib.ntu.edu.tw//handle/246246/264511本篇論文重新檢討李梅樹作為美術家─新興知識人的背景與思想特質，由此一角度，討論其日治時期美術活動的定位，以及人物畫與社會脈動的關聯，觀察臺灣美術家以現代美術參與社會，提升台灣本地文化的重要關懷。首先值得注意，日治時期李梅樹家族背景的重要性。李梅樹的兄長劉清港(1885-1930，從母姓)是地方受新式教育的先鋒，家族以其醫師身份為中心，社會地位歷經轉換，逐漸成為地方具影響力的世家。李梅樹就讀總督府國語學校，兄長就讀於醫學校，兩間學校畢業生正是「新興知識人」群體的核心份子，諸多面向看來，李梅樹處處流露與時下思潮貼合的態度，正是理解他脫離教員、轉向美術發展的關鍵。 李梅樹承繼北師前輩及同儕黃土水、陳植棋以來，讀書人投身美術的理想，呈現臺灣美術早期萌芽時，逐漸結合知識份子理想的獨特性格。李梅樹是臺陽美術協會的草創成員，也是陳植棋引領的赤島社美術活動中斷後，臺灣美術團體承上啟下之關鍵角色，其活躍於美術界與地方政治的多重身分，不僅接續現代美術的社會實踐，也扮演與當局斡旋角色，確保美術團體的文化空間。臺陽美術協會與其前身「赤島社」皆有走入社會、培育美術人才的意圖，前後兩階段的美術活動實現以現代美術提升本地文化的社會關懷。此階段李梅樹留下的人物畫是美術運動的一環，由田野調查的照片與繪畫比對，可見畫家有意識地使身邊的家族親友展露現代之美，並透露臺陽美術協會讓「美術」進入現代生活的核心主旨，塑造具主體性的台灣文明圖像。This study starts with the transition of Li Mei-Shu’s family at San-Xia(三峽) during the 1920s. Li’s elder brother, Liu Ching-kang(劉清港), was the local pioneer who embraced the new education system and became the first western doctor who practiced medicine in his hometown. Due to Liu, the social status of his family had changed and became influential to the locals since then .Li and his elder brother enrolled in Taiwan Sotokufu Normal School(臺灣總督府國語學校) and Taiwan Sotokufu Medical School(臺灣總督府醫學校) respectively. The alumni of these two schools were new generation of intellectuals during Japanese Colonial Period, thus had played the key roles to push the Petition of Establishment of Taiwan Council(臺灣議會設置請願運動) and New Culture Movement(新文化運動). Li often showed that he is in line with contemporary thoughts in many ways, which is the reason why he followed the footsteps of Huang Tu-shui(黃土水) and Chen Chih-chi(陳植棋) as being an intellectual to devote himself to modern art. Li carried on unaccomplished idea of Chidao Association(赤島社) and became the primary founder of Taiyang Art Association(臺陽美術協會). Li actively involved in arts and local politics so that he could hold arts groups together without being interrupted. The social ideals of elevating public''s cultural level and cultivating local talents through modern arts were embodied in the two phases of arts activities. As cross-checking the photos from field researches and Li’s paintings, we can see that Li intentionally created the modern beauty in the figure paintings of his family and locals. Li made his figure paintings as a part of his social practices, which specified the idea of letting the “art” come into modern lives, and made it as an encouragement of expected promotion.中文摘要……………………………………………………………………………………………………………… i 英文摘要……………………………………………………………………………………………………………… ii 目 錄………………………………………………………………………………………………………………… iii 緒 論…………………………………………………………………………………………………………………. 1 第一章　新時代的地方家族：以兄長劉清港為首的家族形象…………………………… 9 第一節　新式教育先鋒：劉清港的公醫身分…………………………………………………… 9 第二節　躍升中的劉氏家族地位………………………………………………………………………. 15 第三節　兩代的遞嬗：李梅樹眼中的父兄形像……………………………………………….. 19 小 結 …………………………………………………………………………………………………………….. 22 第二章　新興知識人與現代美術的交會……………………………………………………………. 25 第一節　投身美術的讀書人……………………………………………………………………………… 25 第二節　與新文化運動並行的美術理想…………………………………………………………… 29 第三節　世代交替的臺灣美術界………………………………………………………………………. 34 小 結 …………………………………………………………………………………………………………….. 37 第三章　李梅樹與30年代後期臺陽美術協會的文化活動…………………………………. 39 第一節 從赤島社到臺陽美術協會…………………………………………………………………. 40 第二節 建立本島現代美術研究機關……………………………………………………………… 45 第三節 多重身分的美術家……………………………………………………………………………… 56 小 結 …………………………………………………………………………………………………………….. 65 第四章 創造優雅現代的家族親友像………………………………………………………………… 67 第一節 考量現代性與本土性………………………………………………………………………….. 67 第二節 建立理想美的家族人物像─ 從玻璃底片探《劉曾妹系列》創作意涵……………………………………………... 73 第三節 轉向鄉里人物像─指導精神的農村女性像……………………………………….. 85 小 結 …………………………………………………………………………………………………………….. 97 結 論……………………………………………………………………………………………………………….. 99 附 件……………………………………………………………………………………………………………….. 附件一：〈李梅樹致妹夫陳清源〉，1928.12 附件二：〈楊三郎、陳清汾致李梅樹〉，1939.10 附件三：〈楊英梧致李梅樹〉，1939.10.3 附件四：〈有關臺展問題建議書〉，1939.06.20 附件五：〈菊池清作致李梅樹私信〉，約1944 105 年表一：劉清港(1885-1930)…………………………………………………………………………………. 116 年表二：李梅樹(1902-1983)…………………………………………………………………………………. 119 參考書目……………………………………………………………………………………………………………… 132 圖版目錄……………………………………………………………………………………………………………… 142 圖 版10590344 bytesapplication/pdf論文公開時間：2015/01/27論文使用權限：同意無償授權三峽李梅樹劉清港赤島社陳植棋臺陽美術協會人物畫thesishttp://ntur.lib.ntu.edu.tw/bitstream/246246/264511/1/ntu-102-R98141007-1.pdf