吟遊．默視．歷史消解：高甄斈水墨創作中的圖像閱讀

Abstract

本研究從社會現象的觀察出發，探討社會中「人」在「框架」之下的存在意義，閱讀過去、閱讀歷史的同時，產生模糊性的概念思考，因此，試著消融時間軸上歷史性的觀感，進而走向共時性的視域思考，並用「當下」去陳述隱喻、轉喻、諷諭現實，省思宏大精神中「小我」的存在。 透過哲學與生命的思考，試圖就「儒道語境」、「存在意念」、「歷史表情」等文化蹤跡去尋找「完形」構成，但是，人不太可能去找到歷史，不可能重現和復原一種明確的真實存有，嫁接的文化混合體形成了創作的先前意識。所以，在歷史文化軸線的混雜下，生存結構的權力關係不確定性、模糊性，經由歷史人物圖像揭示權力義意表徵，意識的覺醒，使本身就是模糊的、斷裂的，碎裂的記憶重組，誤讀之中，不確定性的詮釋角度，使「歪曲」的真實變得有趣，因此，不希望落入歷史所決定或是文化所框架的傳統內，邊緣性陳述才能逐漸顯露，而邊緣特徵的表述，也在於一種當下處境的焦慮與荒謬感受，亦是沉默的發聲方式。 繪畫作為沉默的語彙，模糊作為觀察的陳述，使得混雜變成多向度的考模式。經由系譜的梳理，對藝術上「消解」的手法作一探究，消解之後，又建構一美感向度－－「虛無的虛實」與「限性的書寫」，在水墨創作之中尋找餘白與書寫的可能性美感建構。 在此哲學與藝術的思考下，藝術創作的實踐，選擇歷史圖像作為語彙表述的介面，以「複貼」的方式來詮釋「模糊化」意涵。一次又一次的複貼是「極多」的語彙陳述，也是對紙材物性的自身消解。「貼」作為模糊化的「補充」方式，使得閱讀過去的「誤讀」具有幻想力，介入過去的即刻，過去就變成歷史，變成可讀的文本，因此可以說是在「貼」的矛盾性之中創造歷史，以藝術的創意成就創作者的意圖。

This study begins by observing the social phenomenon and analyzing the existence consciousness of the “human” under the “construct.” An ambiguous conceptual thinking emerges in one’s reading of the past and the history. Therefore, this study attempts to deconstruct the diachronic and historical sense and to move into a synchronic visionary thinking, utilizing the “present” to understand the metaphor and the metonymy, to comment on the reality, and to reflect on the existence of the “individual self” within the universal spirit. While reflecting on philosophy and life, the author attempted to find a “gestalt” construction through the cultural traces of “Confucian context,” “existence awareness,” and “historical complexion.” However, asthe author realized, it is quite futile for one to find the history or to re-enact or resurrect a concrete and real existence. A hybrid cultural mixture becomes the preconsciousness of artistic creation. Therefore, in the conundrum of historical and cultural axes, the power relations of existing structures are uncertain and ambiguous. The historical images of figures enact power relations. An awakened consciousness reassembles the ambiguous and broken memories, and, in its misreading and uncertain interpretation, the anamorphic reality becomes interesting. Therefore, because the author tries to escape the tradition determined by history or cultural constructs, and borderline discourse emerges. This borderline discourse connotes an anxiety and a sense of absurdity towards its own immediate existence. It enunciates the silence. Painting is a silent language. Ambiguity is its discourse of observation. In this way, complexicity becomes a multi-dimensional mode of thinking. By a genealogical examination, this study discusses the “deconstruction” techniques in artistic performance, and, after the deconstruction, this study also constructs an aesthetic dimension, “fathom the void” and “limit writing.” Through the creative performance of ink painting, this study attempts to find the possible aesthetic construction of white space and writing. Guided by this philosophical and artistic thinking, this study takes up historical images as the medium for the artistic language. Moreover, this study also adopts the technique of “paste” to interpret the concept of “ambiguity.” To paste again and again is the language of “plentitude” and it deconstructs the innate material nature of the paper. To paste is to “supplement” in a fuzzy way. It makes the “mis-reading” of reading the past an imaginary act. The moment one engages the past, the past becomes history and transforms into a readable text. It is the creation of history on the basis of the paradox of “pasting.” It accomplishes the artistic intention through artistic creativity.