「魔幻寫實繪畫」之探索

Abstract

在繪畫上，一次大戰後由德國藝評家佛朗次．羅(Fronz Roh,1890 -1965)所提出的「魔幻寫實主義」(Magic Realism)這種稱謂，大致適用於任何顯示出小心翼翼於草圖工程與精雕細琢的平面表現藝術，他們將現實加工或重建，在畫面中創造出高度的離奇感和困惑的情境，但反對「超現實主義」之過度幻想。

隨著時代的演變，魔幻寫實主義加入了不同文化的觀點與轉化，時有和「象徵主義」、「超現實主義」與「幻想藝術」等相重疊的地方。整體而言它是：基於「人性的」與「現實的」主題精神，採用具象寫實方式，而且往往是以「人的形象」為符號進行創作；其詮釋手法各異，但又共享某些特點，諸如重視傳統繪畫技能、回歸秩序與永恆，以及改造與轉化自然現實成為具有個人風格的「心靈畫境」等。其所關心的主題與表現方式，一直以來也是筆者在創作上所認同與追求的。

本論文研究之目的，乃藉由「魔幻寫實繪畫之探索」檢視筆者之思想脈絡與創作軌跡、探究個人作品與魔幻寫實繪畫的相關性，期能較完備地建立自我創作風格與理論體系。

As far as painting is concerned, the term “Magic Realism” proposed by German critic, Fronz Eoh (1890-1965), after the First World War generally applies to all those expressive art which works on or reconstructs reality through delicate representational objects on the thin surface. They yield nature with astonishment and perplexity before the magic of being, but reject the excessive fantasy of Surrealism.

With the changes of times, ideas of different cultures had added into the category of Magic Realism, and made it overlapped with Symbolism, Surrealism and Fantasy Art accordingly. To be brief, Magical Realistic artists usually employ the signs of human figures in a figurative or realistic manner to express the subjects of humanity and reality. Despite their various interpretations, they have something in common. For example, they put stress on traditional painting skills and appeal to return to order and permanence. Moreover, the recreation and transformation of nature and reality have turned out to be artists’ mental landscapes of their distinguished styles. The subjects and creative methods of these artists correspond to what I have thought and pursued in creation during these years.

The thesis aims to examine the context and development of my creation technically and intellectually through the exploration of Magic Realistic painting. With the interrelation of my works and Magic Realistic painting, the theoretical framework of my creative statement shall be more thorough and complete.