「視吃」－張育慈的臺灣味繪畫創作研究

Abstract

《史記》裡的「民以食為天」，台灣俗語裡的「吃飯皇帝大」，都在闡述相同信息，對人民、百姓而言吃飽三餐不匱乏，是最重要的一件事，自古皆然。 食物是這世上最適合連接古今的載體，也唯有食物在千年過去，如乾隆皇帝，愛新覺羅氏，名弘曆(1711-1799)愛吃的雙色馬蹄糕，時至今日在傳統市場裡、中式餐館裡也都是常見飯後甜食之一。拋開日常生活的思想偏見，吃也會是一個有趣味、有深度的思考，而我的哲學樂趣就在這餐桌上，食物乘載著歷史，風俗文化順流而下，從中窺探台灣的傳統飲食，藉由此構思、創作，發覺我們現今在西方飲食文化的強勢逼婚下淡忘的傳統滋味，交融而成美的極點，進而轉變為創作元素。 第一章陳述筆者自身創作的緣由與心境，呈現從吃這一件事情中發現的美好，深化創作內涵。第二章為文獻探討，闡釋台灣的飲食文化的獨特特色、起源，研究各類經典小吃的根源與演變中的在地化差異，以及東西方的飲食繪畫特化與差別，飲食中的美學探討。第三章藉由所謂的「聯覺」，當一個感官被刺激時，無意識中另一個感官也因而受到刺激而有所反應，將筆者創作之核心理念，灌輸進繪畫中，透過水彩創作，以個人視角強調語彙，帶領觀者由繪畫穿越時空，再次體驗美好食物氛圍。第四章作品說明，紀錄筆者過往喜愛且常見的小吃小點，詳細分析與說明作品，第五章結論回顧開始繪畫的心情表達之初衷，期許未來能繼續探索不同的創作方向，為觀者更直接的感受與連結。“Eating is the most important thing for people” as stated in the Records of the Grand Historian. In other words, there is a slang in Taiwanese, “When you are eating, you are like an emperor.” The two proverb explain the same meaning that how important it is to eat well. It has always been a priority for people to have enough food to eat since ancient times. Food is the perfect medium to connect the past and present, as seen in dishes like the two-color water chestnut cake favored by Emperor Qianlong, which remains a common dessert in traditional markets and Chinese restaurants until now.Setting aside the conventional biases of daily life, eating can also be an interesting and profound form of contemplation. For me, the joy of philosophy lies at the dinner table, where food carries history and customs, allowing us to glimpse into Taiwan's traditional cuisine. Through this concept and creation, we rediscover the traditional flavors that have been overshadowed by the dominant Western food culture today, blending them into a beautiful fusion that serves as a creative element. Chapter one describes the author's reasons and state of mind for creating, presenting the beauty discovered from eating, and deepening the content of creation. Chapter two discusses literature, elucidating the unique characteristics and origins of Taiwan's food culture. Besides, the research on the origins and evolution of various classic snacks, focusing on the localization differences, as well as the differences in culinary art between East and West, and exploring the aesthetics of food and drink.Chapter three explores the concept of synesthesia, where stimulation of one sense triggers an unconscious response in another sense. The core idea is infused into painting, using watercolor as a medium to replace words and evoke memories in viewers in order to think back to childhood snacks that I haven't had in a long time. Chapter Four explains and records the author's favorite and commonly seen snacks, providing a detailed analysis and description of the works. Chapter Five concludes by reflecting on the original intention of expressing emotions through drawing, with a hope to continue exploring different creative directions in the future for a more direct connection and feeling for viewers.