論以藝術創作媒材「線」的文化隱喻建構審美路徑——以塩田千春與阿部幸子的創作為例

Abstract

本研究立意析論藝術作品之「線」所展現之媒材文化隱喻，從而建構以「線」之文化共情的審美路徑。藝術的本質在於共感共情以觸動人心，如何將創作與鑑賞之間，人類普遍平等共具情感的方式，確立為藝術家與鑑賞者有效傳達與回應的審美進路，需要依據人類文化共具的情感作為探討。審美途徑建構以藝術作品作為物質媒介，並縮限在創作所具備共通性媒材「線」的可行範圍。儘管如今全球文化交融，然而文化根柢不可否認其仍具備地域性差異，是以生長於臺灣的作者從當代藝術中，依地域歸類於「東方文化」的亞太地區，擇取日本長年來純粹以有形物質之「線」媒材創作的2位女性藝術家：塩田千春（Chiharu Shiota, 1972-）與阿部幸子（Sachiko Abe, 1975-）的作品作為立意取樣樣本，用以相互對照，探討「線」做為藝術媒材所具現的文化共情。結合文本分析法的個案研究主要以「線」的視覺藝術文獻與藝術家作品及相關評論，從審美對象與媒材文化兩端推溯，運用當代批判理論文本分析探討，預設取樣藝術家以「線」創作，作品必定意向（intending）到「線」媒材的文化隱喻，主要的文化隱喻包含：線的連結與隔離性、線的陰性思考、線的儀式感與線的藝術共情。在兩者之間，找到確實依存的關係深入闡述印證，據以建構以藝術創作媒材「線」之文化隱喻的審美途徑。審美翻譯詮釋，並挪為自身感受，勢必來自於某種文化共感，推回到媒材的共性，透過詮釋建構力量的實踐，沒有知識階級限制的文化共性，才能達到審美觀看角度的平等，一般多數大眾在人類社會生活中成長，共具理解的文化隱喻，因此會是個更平等更普遍的有效審美路徑。This paper intends to analyze the cultural metaphors of the mediums displayed by the “lines” of the artworks, and establish the possibility of using the cultural emotion of the “lines” as an aesthetic empathy. The essence of art lies in the empathy to touch people’s hearts. Establishing an aesthetic approach to effectively communicate and respond to artists and appreciators, in which human beings are generally equal and share emotions through creating and appreciating art, needs to be explored based on the emotions shared by human culture.Even though the world’s cultures are mixed with one another, it is undeniable that the cultural roots still have regional differences. Therefore, the authors who grew up in Taiwan selected contemporary art from the Asia-Pacific region classified as “Oriental Culture” according to the region, and used the artwork of two Japanese female artists purely using the medium of tangible “lines” as samples. The artwork of Chiharu Shiota (1972-) and Sachiko Abe (1975-) were compared to explore how “lines” were used as artistic mediums to embody cultural empathy.The case studies combined with the textual analysis method mainly use “line” visual art literature as the artworks and relevant comments trace back to aesthetic subjects and medium culture. Using contemporary critical theory for textual analysis and discussion, the sampled artwork that used “lines” to create must have intended to use “lines” as mediums for cultural metaphors. The main cultural metaphors include: the connection and isolation of the line, the negative thinking of the line, the ritual sense of the line and the artistic empathy of the line. There was a deep correlation and a confirmed relationship between the two to establish an aesthetic approach of cultural metaphors using the artistic creation medium of “lines.” Aesthetic interpretation, and translating it into one's own feelings, is bound to come from some kind of cultural empathy, which is pushed back to the commonality of the medium. Through the practice of interpreting and constructing power, the cultural commonality without the restriction of the intellectual class can achieve equality in the perspective of aesthetic viewing. Most of the public grow up in human social life, and have a common understanding of cultural metaphors, so it will be a more equal and universal effective aesthetic path.The construction of the aesthetic approach uses works of art as material mediums, and narrows it down to a feasible scope of creating common medium “lines”