想像的共同體：島嶼未來─黃旭辰繪畫創作論述

Abstract

本研究以「主體意識」及「認同」兩條軸線為探討方向，試圖在平面繪畫之媒介描繪、刻畫自我想像的台灣主體樣貌，並透過視覺文化及後殖民理論加以詮釋、論述，目的在反思後殖民情境下的台灣主體性，以及在歷史脈絡以及集體記憶的爬梳當中尋找島嶼未來共同之想像─想像的共同體。 無論從政治或是藝術發展的脈絡來看，台灣始終深受多方外來文化的牽引與制約，然而主體性的呈現，必須回到在地文化及其認同之上才得以進行。台灣歷經不同外來政權的統治，夾雜在各方文化霸權之凝視，觀看台灣近四百年來的歷史，可以詮釋為「持續遭外來政權殖民統治」的一部殖民史，而在社會及政治不確定性的焦慮中，反映台灣在去中心及認同矛盾的集體意識，因此今日處在後殖民狀態的台灣，在「認同」與「主體性」的建構即深具意義，筆者盼透過創作實踐，藉以油畫媒介表現水墨山水畫風格，在貓熊、台灣黑熊擬人化的角色扮演圖像以及風景背後的文化表徵中描繪出台灣主體樣貌，並在文化政治學等理論之梳理、歷史脈絡與集體記憶的情境之下點出台灣主體性的困境，或針對今日政治時局展開批判；或畫出島嶼人民對於未來及共同體的想像，成為未來命運的見證者、書寫者、創造者。This study is developed based on two axes: subjectivity and identity, depicting the subjectivity of Taiwan with the medium of painting and the artist’s imagination. With the discussion of visual art and post-colonial theory, the author pondered the subjectivity of Taiwan which is under post-colonial situation, seeking a common imagination of the future of the island, an imagined community, from the history and collective memory.

Looking back on the development of politics and arts, Taiwan had been deeply influenced and conditioned by foreign cultures. However, to manifest the community, one must begin from his own land of culture and identity. Overlooking this era of globalization and post-modernization, the issues including localization, cultural diversity, and community, had come to focus. Taiwan was ruled by several foreign sovereignties, pressured and surrounded by cultural powers. The four hundred years of history could be seen as a history of colonization, continuously dominated by foreign sovereignties. In the uncertain anxiety caused by society and politics, the history reflected the decentralized and self-contradictory collective consciousness. Consequently, the construction of identification and subjectivity meant deeply to Taiwan, today with status of post colonization. To represent Chinese landscape painting style by the medium of oil painting, the author attempt to depict the subjectivity of Taiwan from the practice of art creation: the image of anthropomorphic cosplay between Formosan black bear and panda, and the cultural representation of landscape. Within the carding of cultural politics etc. theory, and the context of reviewing history and collective memory, the author wished to point out the difficulties of the subjectivity of Taiwan. Also, the author wished to paint a vision for the islanders, and review the current politics critically. He thus became a creator, a writer, and a witness of the future.