摘要
台灣美術史向來流傳這麼一個神話，就是「將日本殖民地時期的台灣油畫風格通稱爲印象派風格」，當然台灣美術史的這種神話有其歷史背景。台灣的西洋畫是在接受日本殖民地統治後由日本人引進的，當時以繪事爲職志的台灣畫家理所當然受到日本畫壇風氣的影響。
日本明治初期的油畫多以歐洲文藝復興以降至十九世紀的寫實風格爲尙；中期以外光派引領風騷；末期則以強烈的浪漫主義文學性見稱。明治之後的大正時期，日本的畫壇則興起多元的畫風，當時畫壇新寵以鮮明的個人主義風格而受到重視，而且引入當時的「前衛藝術」流派與理論，藝術界充滿開放的氣息。
日本殖民地時期的台灣油畫家如同大正時期的日本藝術家一般，對當時藝術殿堂的「巴黎」有無上的憧憬，無論有無機會前往，皆關心當時巴黎的繪畫脈動，努力突破明治時期的外光派畫風，試圖嘗試接受塞尙以降的巴黎新繪畫風格，特別是個人色彩濃厚的一些巴黎畫派的風格。
顏水龍的《淡水晨曦》一作以景物的轉移在藍紫色調的氤氳中重溫他對巴黎的縈思夢繫，此種借景表意的轉換比較接近超現實主義的手法。《淡水晨曦》是極佳的超現實主義作品，豐富了台灣美術史在二十世紀前半葉風格的多樣性。此作啓發筆者以西方藝術史之硏究方式硏析當時台灣數位油畫家之個人風格，事實上，日本殖民地時期的台灣油畫家各自帶有表現主義的個人色彩，不宜以印象派風格槪全。謹藉此文以釐清日本殖民地時期之台灣油畫風格的界定。
關鍵詞
顏水龍、淡水晨曦、台灣藝術、台灣油畫、日本殖民地、巴黎畫派
Abstract
There is a myth about the art history of Taiwan, which is to apply the terms "Impressionism" or "Impressionist style" to the oil paintings in Taiwan during the Japanese colonization. As oil painting was introduced to Taiwan during the Japanese colonization, Taiwanese painters certainly would have been influenced by Japanese artists.
The oil painting during the early Meiji Period in Japan modeled on the realistic styles from the Renaissance to the 19 th Century. The Impressionist style took the lead during the middle Meiji Period, whereas there was a tendency to incorporate Romantic literature in the late Meiji Period. The Taisho Period witnessed a simultaneous existence of multiple pictorial styles, favoring strong individual characteristics. Some avant-garde theories and artistic schools were also introduced to Japan at this time.
Taiwanese oil painters were not unlike the Japanese artists of the Taisho Period; they all yearned for visiting Paris. Whether they had the chance to visit Paris in person, they all took interest in the artistic developments in Paris. Most of them endeavored to break through the Impressionistic style so popular in the Meiji Period, and tried to incorporate the new pictorial styles in Paris subsequent to Cezanne, especially the individual characteristics of the Paris School.
Yen Shui-long's Twilight at Tan-shui, by way of transference of scenery, represents his obsession of Paris where he had the chance to visit when he was young. Twilight at Tan-shui is a brilliant work falling into the Surrealistic realm through the transference of scenery, and it substantially enriches our understanding Taiwanese art in the first half of the 20th century in terms of the stylistic expressions. This painting also inspires the author to work on the personal styles of a number of Taiwanese oil painters during the Japanese colonization. As a matter of fact, oil painters in Taiwan during the Japanese colonization do have their personal style of strong individual characters. To label them with "Impressionism" or "Impressionist style" is most inappropriate. This study helps clarify the issue of the styles of oil painting in Taiwan during the Japanese colonization.
Keywords
Yen Shui-long, Twilight at Tan-shui, Taiwanese art, Taiwanese oil painting, Japanese colonization, Paris School
