逃逸中的書寫風景：蔡承翰當代水墨造型藝術探究

Abstract

本論文旨在研究漢字書法做為水墨圖像互文性討論所進行的創作探討。期間環繞著幾個問題：台灣於五六零年代的現代水墨運動，在激情過後，其背後意圖是個人政治或純粹為藝術而藝術？走向創新手法與純形式構成的現代水墨，是否將水墨由文人畫的筆墨極端，推向水墨媒材論的另一個極端？現代水墨的書法性剝除，是否是改革激情的當下，對自身文化的不夠理解所產生的誤區？以漢字做為創作元素的當代水墨創作，在釐清上述問題後，將以何種方式進行試探與實驗？ 在這些問題的引導下，論文首先的研究方法是透過文獻分析釐清相關議題的發展而形成。藉由議題的討論，澄清過往可能的誤區，就相對性的角度找尋可能的創作路徑與理論方法。 參照文心雕龍與德勒茲根莖理論，找尋”之間”的美學實踐以及二值邏輯價值觀的跳脫，在現有的水墨創作模態疆界中，生成多元流變的解疆域化。因而釐清個人創作與母體文化的依存關係，成了主要的創作立基。重新審視漢字書法與水墨圖像的互文性之其他可能，歸結出作品創作背後的三個理念建構：書寫的時間性、材質的物質性、向上提升與建構的蒙太奇拼貼。以漢字書寫形塑作品第一層時間序列，當下的時間綿延至觀者閱讀漢字形象時所產生的二層時間序列。材質的物質性嫁接於書寫時間性之上，在異質媒材的相互拉扯中，凸顯水墨的物質性格。圖像、文字、材質的拼貼，其背後向上建構與提升的蒙太奇意念，回溯創作者與文化母體之本源關係，引導創作者於創作過程返回自我身分的認同。 透過分析當代水墨創作等相關作品，思考比較不同觀點與理論意涵，歸結出個人創作實踐的可行方向，以書寫、異質並置等技法的使用，回應通變、解域的內在理念，製造出內外相符的作品。

This thesis aims at analyzing the Chinese calligraphy creation based on the image intertextuality of ink painting. A few questions are of pivotal importance worthy of discussion. What was the true motif of the modern ink painting movement in Taiwan in the 1950’s and 1960’s? Was it motivated by political factors or by the idea “art for art’s sake”? Will the modern ink painting, which is constituted by innovative techniques and pure forms, push ink painting from “wenrenhua” (i.e., scholar painting), one of the two extremes, towards the theory of Ink Monochrome Media, another extreme? Is it possible that the calligraphy stripping of modern ink painting is actually the erroneous result due to certain misunderstandings of its own culture? With the aforementioned questions answered, in what form will the Chinese character-based modern ink painting creation conduct its exploration and experiment? Through the contextually relevant questions, this thesis was first conducted by means of literature review. With all the ambivalence clarified, this thesis also makes an endeavor to find the possible method of creation and theoretical concepts. With reference to Wén Xīn Diāo Lóng, or The Literary Mind and the Carving of Dragons, and Gilles Deleuze’s theory of Rhizome, this thesis tried to discover the “in-between” aesthetic practice of the two concepts and transcendence of the dichotomy, thereby contributing to multiple deterritorization in the terrain of ink painting creation. Hence, explication of the interdependency between idiosyncratic creation and cultural matrix became the foundation. After the re-examination of the Chinese calligraphy creation and the image intertextuality of ink painting, three major conceptions were founded: temporality of calligraphy, materiality of substance, and upwardness and construction of Montage. The Chinese calligraphy creation constituted the first temporal sequence; meanwhile, the immediate temporality continued, thus forming the second phase of the temporal sequence when readers read the image of Chinese calligraphy. The materiality of substance was then transferred to the temporality of writing, interacting with the heterogeneous substance, and accentuating the material features of ink painting. The Montage of images, words, and materials enhanced the constructive Montage image; it further retrospected to the original correlations between the creator and cultural matrix. It was via the analysis of contemporary creations of ink painting and explication of diversified perspectives and theoretical contents that the final conclusion was reached. Namely, the potential methods of individual creations, the application of writing and heterogeneous juxtaposition—all these responded to changeable and deterritorizational concepts, and thereby created artworks of both internal and external correspondence.