黑暗之光—社會議題之水墨創作研究

Abstract

社會的脈動和變遷，與大眾息息相關，而藝術在其中扮演的角色，也隨著時間與藝術思維的開展有了遞嬗。在西方，藝術由早先的柏拉圖所提的「美」與「善」；亞里斯多德的「藝術淨化人心」，降至現代，藝術不單只是為了「美」而存在，不僅只提供美的愉悅感，藝術開展到了這個階段，不直接藉由藝術來批判社會，試圖改變社會，也不單只有表現與再現的美感。藝術家的創作更多時候僅是為了提供許多「素材」、「媒介」等，讓觀者能夠藉由直接與作品的接觸後，得到屬於自我的啟發或感受。 藝術作品的表現所帶給觀者的，不單單只有理智分析得到的畫面構成、形式、色彩、符號等訊息，還有直覺接受到作品所傳達的感受。佛洛伊德的精神分析學中認為，藝術的行為無非在求人類原慾的滿足，藝術品不過是人類藉著昇華、替代等方式，表達不被社會所接受的潛意識中的慾望，因而滿足快感。而本文中也試圖藉由藝術心理學的分析，找出關於自我的藝術創作方式。當西方的藝術思維，快速且大量的輸入進入後，筆者想藉觀察多元藝術思潮衝擊下的當代，探討關於台灣的社會現象與反映在水墨藝術上的表現，以及藝術家是如何回應當下時空所存在的社會議題。 水墨，這個媒材對於以文化正統自居的台灣來說，自國民政府遷至台灣後，也就隨著落地生根且成為主流，水墨發展也從跟隨政府遷移到台灣的傳統水墨畫風格，然後逐漸受到西方藝術的影響，而有了形式與本質上的鉅變。現代水墨除了傳統的筆墨功夫外，也吸收了西方的藝術理論與思想，並且不斷融合與開展，所以在文化劇烈變動的七零年代，水墨也有了截然不同於傳統的面向來呈現。隨著資訊、網路等發展，也造就了訊息、思想流通快速的當代，全球化帶來的藝術衝擊，更不下於當初，於是藝術所關心及探討的議題也就自然多元了起來。然而社會與文化，更是直接涵蓋整個人類活動變遷的重要場域，所以社會及水墨畫關係、水墨畫變革歷程的探究，也就是筆者所欲探討的基本架構及議題。 Form of Art will evolve with the change of society. In the west, Art is regarded as beauty and goodness by Plato in the earlier decades, and Aristotle thinks Art can purify or cleanse human heart. Till now, Art does not only exist for beauty, also providing the joyfulness. As Art develops to this stage, it is not directly been used to criticize the society, and not only to show or reappear the aesthetic beauty. Most of time, the creations of artists are providing materials and medium to the viewer so after the connection between them, the self enlightenment and feelings are obtained. The art work brings the signals of structure, form, color and symbols from mind analysis, and the direct perception from the art piece. In Freud's psychoanalysis, the behavior of art is seeking for the satisfaction of human desires. In order to satisfy the pleasant sense, the art works are represented in a way of sublimate or replacement by the artist to express the unaccepted desires from the subconsciousness in the society. In this context, the author tries to find more self relating art creation ways by the analysis of Psychology of Art. When western art thinking massively and rapidly been imported, the author wants to discuss the social phenomena in Taiwan and the reflection on Ink Painting. Also, how the artist respond to the current social issue. Ink Painting, after KMT government moved to Taiwan, has became the main stream. However, from then on, the traditional Ink Painting is gradually influenced by the western art, as to the changes in forms and essences. The modern Ink Painting is combined with the traditional technique and the western art theory to blend and develop. In the 70's, Ink Painting has a brad new look which is different from the traditional one. As the development of technology and Internet, the information and thinking are interchanged rapidly. The globalization brings great impacts on Art. Thus, what art concern and discuss about become diversity. However, society and culture almost cover the transition of human activities, so the relationship between society and Ink Painting, and the Ink Painting transformation process are the main structures and issues in this context.