碎片化與創造性閱讀：洪郁喜水墨創作論述

Abstract

水墨的當代性，在全球化浪潮之下如何被認知，多年來已開展出許多討論的面向。這項擁有悠長發展歷史的藝術類種，因歷史沿革、詮釋選擇以及缺乏當代藝術理論支持而面臨存續斷裂的挑戰，致使如今與水墨有關的探討內容似乎似乎圍繞著脈絡「碎片化」（Fragmentation）和「誤讀／創造性閱讀」（Misreading／Creative Reading）等命題，水墨在當代語境中常被割裂成零散的碎塊，失去傳統慣習的整體性和連貫性。這或許是水墨作為一種創作媒材與文化象徵留存至當代難以迴避的困境，然而與其閃避或忽略此種困境，或許可將之視為水墨已新生出當代特質的徵侯，並依此拓展出新的詮釋空間。

本研究以水墨的「碎片化」和「創造性閱讀」做為研究主軸及帶動創作思維的關鍵主題，透過對水墨藝術的重新詮釋和多元化表現，持續斟酌水墨在當代的角色和定位。第一章從文學、歷史、藝術、媒體的「碎片化」和「創造性閱讀」等多面向進行文化研究分析。第二章探討「觀看」與「閱讀」隨時代脈絡變化的現象，從受制於權威到讀者角色提升，進而導入一個由觀眾與創作者共享、共有的訊息交換空間。第三章挖掘訊息傳遞的媒介，從語言文字、符號、圖像的不確定性，到藝術家、藝術作品和觀眾間角色表達與理解的複雜性。第四章將「碎片化」和「創造性閱讀」納入個人創作討論，分析個人創作思維的建構，從水墨創作的當代思維途徑，發展出拼貼、擬仿與挪用的形式與技法方向。第五章則是依照個人的系列創作，分析五個系列的創作結構，並逐一介紹每件作品的創作理念和動機。最後一章再次強調了誤讀的積極意義，認為誤讀不僅是理解上的偏差，更是創造性探索的重要途徑。

How to understand the contemporary nature of ink painting under the wave of globalization has been a question that people have discussed in recent years. This kind of art with a long history of development is facing the challenge of fragmentation of artistic context due to historical evolution, interpretation choices and lack of support from contemporary art theory. This has also led to the fact that the current discussions on ink and wash seem to revolve around propositions such as"fragmentation" and "misreading/creating reading". Ink painting is often divided into scattered fragments in contemporary context. The integrity and coherence of traditional customs have been lost. This may be an unavoidable dilemma that ink as a creative medium and cultural symbol still exists in contemporary times. However, this dilemma cannot be avoided or ignored, but can be seen as emblematic of the new contemporary characteristics of ink painting and expanded accordingly. Create new interpretation space. This study takes the "fragmentation" and "creative reading" of ink art as the main research axis and the key themes that drive artistic creation. Through the reinterpretation and diversified expression of ink art, we rethink the role and positioning of ink in contemporary times. The first chapter of this study takes the "fragmentation" and "creative reading" of ink painting as the research motivation, and conducts cultural research from multiple levels such as literature, history, art, and media. The second chapter explores the changes in viewing and reading with the times. Reading has shifted from being subject to authority to the improvement of the role of the reader, introducing a space for information exchange between the audience and the creator. Chapter 3 explores the impact of uncertainty in the medium of messaging （language, symbols, and images） on the complexity of character expression and understanding between artist, artwork, and audience. Chapter 4 discusses the analysis and construction of personal creative thinking, starting from the way of thinking in contemporary ink creation, and developing forms and techniques of collage, imitation, and appropriation. Chapter 5 takes personal series creation as the main line, analyzes the creative structure of the five series, and introduces the creative concepts and motivations of each work one by one. The last chapter once again emphasizes the positive significance of misreading, arguing that misreading is not only a cognitive bias, but also an important way of creative exploration.