| 摘要: | 油畫－這門藝術起源於西方，並有著悠久的歷史，在各個不同的歷史時期，出現許多藝術流派和傑出的代表人物。在他們的作品裡，呈現出油畫材料技法的發展演變，同時體現著當時政治和社會的環境現象。本文主要是從古代油畫材料技法的發展演變，來對油畫技法的探討與研究，讓我們可以從更專業角度去深刻的瞭解藝術史，依時間順序列舉介紹新石器時代至20 世紀油畫創作代表性的大師及其技法。從油畫開始形成之前的繪畫技巧講起，以新石器時代的壁畫及中世紀的蠟板與蛋彩畫開始，看他們如何慢慢的形成油畫基本雛型，再歷經喬托（Giotto di Bondone, 1267-1337）的透視法觀念，讓油畫技法表現更上一層樓。再經范．艾克（Jan van Eyck, 1390-1441）兄弟的多層次畫法及發現乾性油與揮發性溶劑的使用，讓油畫技巧開始正式的建立。接著在義大利威尼斯畫派的提香(Vecellio Tiziano,1477-1576)的不透明厚塗法，讓現代油畫技巧慢慢的誕生出來。及融合南北油畫技法的魯本斯（Ruben Sir Peter Paul,1577-1640）的溼畫法技法將畫面亮部塗厚、暗部用透明色處理，奠定了近代流行畫法的基礎。之後，17 世紀以後的畫家，雖各有風格和獨特技法，但都沒有離開這三種基本傳統的油畫技法，只不過在使用材料上，稍微變化，或強化了某一方面，或採取了不同的綜合手法而已。18 世紀的油畫技法更是朝著不透明性的方向而演進，為了追求短時間完成一張畫來證明自己高超的繪畫技巧，同時為了迎合貴族的趣味，而傾向於官能主義的繪畫。19 世紀初畫家對於18 世紀的賣弄技巧的畫家有著強烈的反感，因此提倡恢復對自然及古典技法的研究。之後法國印象派畫家在色彩運用上所作出了具有創新意義的貢獻，強調畫家對客觀事物的感覺及印象，反對學院派的因循守舊，主張藝術上的革新，是一個劃時代的革新時期。但在技法史上，他們為了表現瞬間的光線和色彩的變化，在作畫時儘量不使用過多的乾性油而以揮發性油替代，造成日後作品產生變灰或變暗的現象。加上從19 世紀末葉開始，哲學、藝術觀念的變革中慢慢趨於轉型。油畫發生了根本性的變化。油畫不再以模仿自然、再現自然為藝術最高創造原則，藝術家自由創作被視為新的真實。但在技法上大部份還是承襲印象派時代以來的技法，不但沒有改善，甚至在顏料中加入砂、紙、布、木屑、陶土等等混合物，使得基底材變得更加脆弱。所以說20世紀從油畫技法的觀點來看是一個退化時期。然而以創作的角度來看，卻是一個輝煌的燦爛期。今天的藝術不是對過去純技術的承襲，它是讓我們透過學習，來對油畫材料與技巧的認識，在學習油畫的過程中，就可以自覺地駕馭油畫材料並選擇運用可以表達的個人藝術思想的形式技法來進行油畫的創作。
Originating from the West, oil painting has a long history. There have been a great many schools of art as well as outstanding representative figures during different periods. Their works reflect the development and evolution of oil painting materials and skills, and of course, the political and social conditions at that time as well. The essay aims at the inquiry and research of oil painting skills according to the development and evolution of the ancient ones. This can enable us to have an insight into the art history from a more professional view. The representative oil painting masters and their skills will be listed here in chronological order from the New Stone Age to the 20th century. The essay starts from the painting skills before oil painting came into being, then discusses how the frescos of the New Stone Age and the medieval wax prints and temperas gradually formed the basic mold of oil painting. The skills were further promoted by the perspective concept of Giotto di Bondone (1267 -1337), and the oil painting skills were formally established when Jan van Eyck (1390 -1441) brothers found the skills of painting in layers and the application of paint oil mixed with volatile solvent. The modern oil painting skills originates from the opaque impasto of Vecellio Tiziano (1477 -1576) of Venetian school in Italy. Absorbing the oil painting skills of both the North and the South, the Alla Prima of Ruben Sir Peter Paul (1577 -1640), which thickly paints the light parts and applies transparent colors to the dark parts, laid a foundation for the modern popular painting style. The painters after the 17th century, though varied in styles and peculiar skills, didn’t stray away from the foresaid three basic traditional skills, with only differences in materials, or certain enforced aspects, or combination of skills. The painting skills in the 18th century evolved further toward opaque. In order to prove the advanced skills by finishing a picture quickly, as well as to carter for the noble taste, the painting skills were of sensualism. The painters of early 19th century strongly disliked those of the 18th century who showed off skills, and they advocated restoring the research of natural and classical skills. Then those French impressionist painters made creative revolutions to the application of colors. They emphasized the painters’ feeling and impression of objective things. They were opposed to conformism of the academism, and in favor of artistic revolution, which made it a revolution period. As to the history of skills, however, their works became grayer and darker later because they tried to use volatile oil instead of paint oil in order to render instant changes of light and color. In addition, the philosophic and artistic ideas of late 19th century brought fundamental changes to oil painting, which no longer viewed imitation and reproduction of Nature as the supreme principle. The free creation of artists was viewed as new reality. The skills, however, mainly followed those of the impressionist age. There was with no improvement but the substrate material became frailer because sand, paper, clothe, wood dust, and soft clay were added. Therefore, the 20th century can be regarded as a regressive period for oil painting skills. In the view of creation, however, this is a glorious and bright age. |
