劉其偉繪畫中的原始風貌

Abstract

劉其偉的原始風貌繪畫，取材自臺灣、非洲、南太平洋群島之原住民藝術與文化，這些作品除了融入原住民藝術的造形元素，呈現原住民族群的風土民情之外，更隱含了原住民異於現代文明世界的精神思想，而富有一種神秘的異域特質。原始風貌繪畫不僅表現劉其偉的藝術理念，包含他六十歲以後的重要志趣—研究原住民藝術—之心得，在劉氏的藝術創作生涯中具有獨特地位。

劉其偉以現代文明社會的藝術觀點重新詮釋原住民傳統藝術，透過他的原始風貌繪畫，呈現原住民世界純真、質樸與自由的美好特質。本文的研究目的在於藉助藝術史及文化人類學的研究文獻，比較相關的原住民藝術，探討劉其偉繪畫中原始風貌之形式與意涵，追溯西方現代藝術及原住民藝術對他在藝術創作上所造成的衝擊與啟發，並釐清劉其偉對文化人類學的認知情況，詮釋他對原住民藝術所採取的立場以及矛盾之處。而對於劉其偉的文字論述及訪談資料，這些透露了他如何將西方現代藝術與原住民藝術研究相互融合，形成一套評價原住民藝術價值的理論，本文亦有所分析與檢討。

透過原住民研究，劉其偉試圖發掘人類的共通本質，從而創作出感動人心的作品。他的原始風貌繪畫特別強調原住民世界純真、神秘且不矯飾等美好特質，這其中涉及了取材上的取捨及轉換，以及劉其偉整體繪畫風格的取向。他的原始風貌繪畫呈現的並不完全是原住民世界的真實面貌，而是他心目中經過理想化的原住民世界，而這個理想化的過程反映了他對於現代文明社會的批判，以及對於一個美好世界的想像。Max Liu’s paintings with primitive style were inspired by the Art and cultures of indigenous peoples living in Taiwan, Africa, South Pacific Islands and Australia. Apart from incorporating formal elements of Indigenous Art and representing customs of indigenous people, these paintings also imply their thoughts and world views, which are so different from the ideas in modern civilization. These paintings show Max Liu’s ideas of Art as well as his impression on indigenous people and Art, which were his main interests after age 60.

Through his primitive style paintings, Max Liu showed the innocent, simple and free qualities of the indigenous world. The aim of this study is to discuss formal elements and meanings of Max Liu’s primitive style paintings based on Art History and Cultural Anthropology (or Material Anthropology). How Indigenous Art and the ideas of Modern Art had inspired his artistic creation, and his understanding of Cultural Anthropology as well as indigenous Art are also clarified. Through his writing and interviews, Max Liu revealed how he combined knowledge of Modern Art and Indigenous Art, and developed a theory for evaluating Indigenous Art. The discussion of these aspects is also included in this study.

Max Liu attempted to find out the innate characters shared by all human beings through studying indigenous cultures, and so to create art work that touches the viewer deeply in the heart. His primitive style painting does not represent Indigenous Art and cultures in the reality, but rather shows his idealization of the indigenous world. This idealization in turn reveals his criticism of the modern civilization and his dream for a perfect world.