Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114536
Title: 生命碑文看台灣水墨的發展 (1950-2004)
Authors: 王友俊
王祥薰
Keywords: 觀念水墨
速寫性水墨
本土意識
Conceptual ink-water
Sketch ink-water
Local consciousness
Issue Date: 2005
Abstract:   本論文以二次大戰後國民政府退居台灣,外來文化(包括歐美、中原文化)和本地文化相互衝擊衍生出水墨藝術家對當下的各種解讀形成不同見解,多元發展,皆反映時代某一種現象。台灣的水墨內在文化外在西潮不斷發生變化、矛盾、調和中發展,形塑與中國大陸藝術截然不同的本土演化。   論述中提出歸納三個方向發展,一、「傳統水墨」著重傳統筆墨和寓情于山水間,結合書畫的抒發。由中原文化到本土文化的轉換,在筆墨形式上則突破,並回到個人人生經驗裡。二、「中西融合」強調民族文化的特色為主體和大量汲取西方畫派營養融合在水墨特有的審美意識,或因科技發展產生新視覺經驗,匯入個人創造。三、「觀念水墨」將水墨視為一種媒材或轉化成「水墨藝術」。當代多元文化在個人精神對社會現實的關照和投射。   在全球化衝擊下的水墨迷失與自我肯定。一、認同在地文化和接納不同文化。二、水墨的價值自主與創造。三、大眾化經由再教育、展覽、引導消費融入生活。 進入21世紀國內政治惡鬥不絕、經濟衰退,兩岸敵意仍濃。國人仍以消費心態對待大自然,濫墾濫伐,超限開發,地層下陷,海水倒灌、暴雨成災,暗示著人為的破壞大自然的反撲。而住地「松園」的蒼松雄壯渾實,述說著一路行來歷經千山萬水的滄桑與磨難,勇於面對百年來的風雨而流露安身立命之勢。「生命碑文」的創作,在躁動不安的年代得以舒展與澄明,轉化成意蘊勃發之能量。從不屈從命運的安排而得到寬慰。
This study introduces different contemporary interpretations and understandings of ink-water painters which derive from the mutual impact between foreign culture (e.g. western culture and mainland Chinese culture) and domestic culture after the ROC government has fled to Taiwan after World War II. The development of multiculture reflects a certain specific phenomenon in a period. Under continuous changes, contradictions and harmony, the internal culture and external “western tide" of Taiwanese ink-water painting has been developing. The domestic evolution is then shaped which is totally different from the arts development in China. This study advances and induces three developing directions. First, “Traditional ink-water” focuses on the traditional brush, ink and landscapes, and combines the expression of paintings. It switches the mainland Chinese culture to the native one and breaks through the brush and ink style. Then, it returns to the personal experiences. Second, “The combination of Chinese and Western culture” emphasizes on the specialty of tribal culture as the subject. It gets massive “nutrition” from western painting styles and melts it into specific aesthetic consciousness of ink-water painting, or into personal creations due to the new visual experiences generated by the technological developments. Third, “Conceptual ink-water” regards ink-water as a material or transforms it into “ink-water arts.” Contemporary multiculture focuses on the concern and the project of the individual spirit on the social reality. Under the impact of the globalization, ink-water is lost and self-positive. First, it identifies the domestic culture and accepts the different culture. Second, the value of ink-water is on the independence and creation. Third, through re-education, exhibition, and the integration of consumption and lives, ink-water is popularized. Stepping into the twenty-first century, there are bickering among political parties. The economics is declining, and hostility still exists in the cross strait relationship. We still treat the nature with consuming attitudes: severe cultivation and deforestation, excessive development, ground subsidence, costal flooding, and torrential rains, all of which have served to worsen the impact of Mother Nature’s wrath. The sturdy green old pines stand tall and straight in the gifted land, the Pine Garden, telling the hardness they have experienced in the past century, and finding the strength to carry on. This creative work, “The Inscription of Life,” is elaborated and clarified in this chaotic era. It has transformed into vigorous energy, and consoled by it never submitting to fate.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G00H1603012%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114536
Other Identifiers: G00H1603012
Appears in Collections:學位論文

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