拓觀新視角：拼湊想像的歷史誤讀—洪郁喜創作論述

Abstract

歷史是一個巨大而不規則形的事件集合體，從哪個面向觀測都會有死角，我們只能看到部份的史料資訊，無法經由單一視角剖析整體。歷史證據有其存在的時代性，並不適用於任何時空，當我們直覺的從眼睛所見挖掘史料予以引用，便容易陷入扁平化歷史的誤讀泥淖。然而歷史的破碎重構已成了無法避免的狀態，誤讀將成為必然的潛在性偶發事件。誤讀以解構主義文學批評可劃分為「閱讀中的誤讀」與「創作中的誤讀」，而藉由認知心理學派則可將誤讀分為「排列錯序」、「主觀偏誤」及「錯誤誘導」，立基於解構主義和認知心理學的綜合觀點，筆者以水墨為主，同時並進了傳統水墨媒材的實驗性操作與科技新媒材的嘗試性試驗，利用擬仿考古史料藉此凸顯證據是不容質疑卻又令人半信半疑的狀態，從斷裂的傳統圖像出發，與現代圖像併置轉化。筆者企圖透過藝術創作反映現代人解讀事物的模糊狀態，希望在觀者與作品的交流過程中，能引發省思，提點生命中不乏似是而非的誤讀問題存在。History is a huge irregular-shaped collective; there were always a blind spot. We can only see part of the historical information, but couldn’t analyze the details via a single historical perspective. Historical evidence only exist at the time, doesn’t apply to any other time or space. When we use our intuition to explain what we see from historical evidence, it’s easy to fall into the quagmire of misreading. However, reconstruct broken history has become a situation couldn’t be avoided; also, misreading become a potentially inevitable incidence. Misreading in Literary Criticism of Deconstruction can be divided into "reading misunderstanding" and "misreading creation". From the study of Cognitive Psychology, they divided misread into "arrangement of the wrong sequences", "subjective bias" and "error-induced". According to theories of Deconstruction and Cognitive Psychology, one’s based on experienced ink wash painting technique combine with new technology devices, use the quasi-imitation historical data to highlighting the evidence is in a situation of undoubtedly but uncertainly. Started from the rupture of a conventional image, juxtaposed the modern image then transformed. One’s attempts to reflect modern interpretation of vague state through art; also hope that when viewers are enjoying the work, can remind them that we encountered with many misreading situations in our life.