城市水墨的超現實意涵—劉蕙華創作論述

Abstract

當今全球進入了多元的『後現代』時期，台灣水墨面臨前所未有的思想衝擊，許多畫家致力於水墨革新，並以融合中西為要務。超現實主義源於弗洛伊德的精神分析學說，是二十世紀影響最大的心理學派，西方之文學、藝術皆受其理論啟發而有新風貌。台灣水墨畫既有承襲中國風格，亦引用了西方超現實主義之夢境潛意識表現方式，創造出獨具風味的超現實水墨。 本文探討作者身處現代社會，回顧中國山水畫傳統，以自身都市經驗為出發，因藉西方超現實主義之精神，把城市意像與自我感受透過水墨語言表現出來，希望藉著創作的過程去發現潛藏在記憶中的片斷，透過圖像投射出現代生活的多采多姿、華麗想像或冷漠疏離、寂寞焦慮。本次創作有兩個系列，『夢想山水』以超現實的手法呈現出繁華都市表象之下的寧靜荒蕪，投射出視覺經驗以外的的心理狀態。『城市童話』著重於視覺經驗與個人印象的重組並意圖在作品中，闡述個人對於時代與生活環境的體認，衍伸出自我的繪畫創作風貌。

As the world enters an era of diversified post-modernism, ink painting in Taiwan faces an unprecedented challenge in thinking. Many painters are devoted to reforms of ink painting by blending East with West. Originated from psychoanalysis funded by Freud, surrealism remains substantially influential in psychiatry of the 20th century and has inspired western literature and art. Affected by the representations of dreams and subconsciousness in western surrealism and inheriting the tradition of Chinese ink painting, Taiwanese ink painting has developed its own distinctive style. This thesis explores the painter’s urban experiences in modern daily life, which is represented in traditional Chinese ink painting yet blended with interpretations of western surrealism. It is hoped that the image of an urban city and the feelings of a city dweller can be represented through ink painting, meanwhile revoking the fading memories and reflecting the vibrancy and gaudiness, or the isolation and anxiety, experienced in a modern urban life. There are two collections in this display: Landscape in Dreams and Urban Fairy Tales. The former presents the psychological state of tranquility and desolation in contrast with the visual images of a bustle city life; the latter focuses on the connection between visual experiences and personal impressions, and it expresses the painter’s own realization of the times and the surroundings, thus developing her own painting styles.