伏流‧異變‧人類世─陳瑞鴻水墨語彙的跨媒材空間詮釋

Abstract

本研究以陳瑞鴻水墨創作作品與其思想運作過程為論述標的，分析個人水墨創作美感之形塑。回歸傳統水墨媒材使用墨、紙、布料、毛筆……作畫的經驗，並透過老莊哲學、易經思想的閱讀，探討當今水墨創作模式的自由與多元之下，仍有其獨特於西方的精神性與美感追求，並論述純化為水墨語彙為個人創作所用，不受限於傳統水墨媒材之採用與否。這份創作研究中，第一章換位思考觀眾以何切入點認知水墨，因而開展此研究；第二章探討環境的變動與質變，作為個人創作關心的主題與啟發的背景，並分別討論自然之變動與人為的異變；第三章時空的片段與其社會性，就各種時間與空間概念進行探討，並將作品視為藝術家具高度理想性的列斐伏爾之「再現空間」層次；第四章則論述筆者透過造境與空間處理，談「變」與空間的多孔性，並於第五章進行個別作品分述。第六章結論則具體認為，當前水墨不以樹立經典自滿，無論作為畫種或文化價值看待，水墨藝術欲持續新生與代謝，皆有具體回應當代社會環境與觀眾需求的必要。筆者認為，傳統哲學思想經常關心「變」的主題，在各種「變」之中，皆回歸到順應天道、與自然學習的價值觀，這與水墨繪畫源自生活所見、生活痕跡的啟發不謀而合，整個水墨藝術的核心概念，應為敬天內省的價值觀。透過水墨媒材其力量運作潛藏於表面或不可見的精神，啟發思考人與世界的關係。而在當代社會由西方資本和全球化宰制下的社會，生活背景已和以往相去甚遠。當今社會的變動，多來自於人類的自負，製造出許多異於常規的變動違抗自然運行的道理，為筆者所稱為「異變」。變動因人而起，也帶領全球共同走向衰亡的危機。This study aims to analyze how an individual shapes their esthetic sensibilities for ink art creation through the related creations by Chen Jui Hung and its ideation. Specially, we found that, even though ink art field nowadays embraces creative freedom and diversity in such international environment, the creators are still chasing different senses of spirit and beauty from western countries. To figure out the potential of adopting ink art-related languages for personal creations without the traditional ink art medium, this study reviewed the creation process for ink art panting by means of ink, paper, cloth, Chinese writing brush, etc., and referred to Laozi and Zhuangzi’s literatures and “The Book of Changes”.The discussion parts of this study are Chapter 1-6: Chapter 1 I try to have empathy for the audience. Therefore this research had been carried out on the background of thinking about the audience’s perception of ink painting. Chapter 2 probed into the natural and artificial variations; Chapter 3 discussed a variety of concepts for time and space, under the prerequisite that artwork belongs to the concept of spaces of representation by Henri Lefebvre; Chapter 4 expounded the porosity among variations and spaces by creating environment and handling with space; Chapter 5 explained each creation respectively; The conclusion of Chapter 6 specifically believes that current ink painting is not complacent about establishing classics. Whether it is viewed as a kind of painting or cultural value, if it is to continue to be reborn and metabolized, it is necessary to specifically respond to the social environment and the needs of the audience.In our viewpoint, traditional Chinese philosophers tend to show interest in variations-related topics. Regardless of the cause, process and result, every kind of variations complies with the value of Chinese philosophers – follow the heavenly rules and learn from the nature, which echoes with the core of ink art paintings – capture what you see and feel in real life. In simple terms, the ink art medium could be regarded as a key to figure out the relationship between human being and the world.The modern society is led by capitalism from western countries and globalization, the living environment is totally different than the past. Most of the changes nowadays originate from humans conceit, resulting in many alternations that conflict with nature. We regarded such changes as “Variations”. Variations arise from the actions taken by human, and have a great impact on the life of us and the globe.