都市閒人的批判與救贖—談洪根深藝術創作的特質

Abstract

Hung Ken-shen's artworks and his role as an important artist in Kaohsiung artist circle can not be neglected, and he is also special figure in Taiwanese modem art development in view of his art subject and the transition of his style. During these ten years after his graduation from Taiwan Normal University, he was searching for modernism by technical method and experimenting to aesthetics form in his art expression.

However, from 1980, Hung Ken-shen tried by himself to reflect the contemporary circumstances under his response to the real situation of Taiwan. His subject was transformed from nature landscape to human nature description. His paintings were something anti-technique and anti-aesthetics, without any experimental sipirit of modernism, expressing a sense of estrangement, without leaving the real life but within the circumstances. These two transformations are deserved to take as a case observation in studying Taiwanese art development.

This study is tried to an interpretation to the meaning and value of Hung Ken-shen's works after 1985, and furthermore to make a clarification between his art and the development of Taiwanese modem art. There are chiefly two sections in this study: the first pant presents Hung's career and his backgrounds and description to his different periods and evolutions; the second part makes a deep analysis, interpretation and appraisal of three selective pieces from his artworks after 1985.