幽微裡的象徵：當代水墨創作意象中的陰柔氣質與指涉意涵

Abstract

藝術，是最隱微的時代見證者，不論是以順應的方式與時代合流，或是以反省的態度與時代抗衡，它都無法脫離與時代的依存關係。台灣自二次世界大戰結束後的繪畫創作，漸次發展出揉合日本文化及東方哲學的「陰性美學」，可說是非常具有台灣區域性文化的特色之一。本文藉由一種新的閱覽角度，直接面對而不刻意強調或迴避女性的身份，以當代水墨創作中的陰柔氣質為主要觀照對象，藉以梳耙出「陰柔審美」之系統性論述及個人的主題性創作。 本文分為七大部分：第一章緒論，內容包含創作動機與目的、研究內容與範圍、研究方法與限制及名詞釋義。主要是從全球化的框架下，藝術風格、觀念出現「文化雜化」( Cultural hybridity )的現象來介入文化傳統性的議題，在其演繹的過程中，「陰柔審美」的創作感知再現於當今文化脈絡下的可能性；另一方面，環圍於當代藝術的多元視角的場域中，藝術價值試圖放入後現代主義方法學的解構論、符號學及中西方美學……企圖撥正長期以陰柔氣質為次，陽剛氣質為優之兩者包裹在一起的意識型態；同時透過不同視角下的指涉意涵，試圖讓陰柔氣質於水墨創作此一領域，呈現出更為豐富的審美架構。第二章則透過中西方的文獻分析，其中涵括了西方的陰性書寫及東方的陰柔美學，並以古典水墨藝術中的陰柔原型及作品來進行梳理與解析。第三章的研究是透過陰柔氣質的內涵價值及多元文化下的性別思維，消解傳統的二元論的制式模組，並以陰柔審美所建構的當代水墨創作作品來進行驗證。第四章則介入當代藝術的相關論述，以當代水墨創作中的外顯語符與指涉意涵為研究標的，透過當代水墨畫中的個人語符及在越界中再造新水墨的創探意圖來進行文本的佐例梳理。第五章及第六章則是藉由上述理論課題交付創作實踐的具體呈現，透過內涵理念的鋪陳及圖像形式的嘗試與創發，所提出「懸浮•隱入」的系列創作，再以客觀的自省角度進行作品的分析與檢討。 最後的結論部份，醒出在台灣藝術生態百花齊放的今天，若觀看的視角仍是：水墨與傳統畫上等號，當代與西方水乳交融，水墨藝術是否將永遠歪斜於當代的邊緣。個人相信：只有當陰柔氣質與當代水墨不囿於傳統的定義之際，水墨藝術方有可能自在地與當代對話；陰柔發微的美學氣質，也才能作為繪畫創作中極為重要的價值表徵。

Art is the foremost hidden witness of its age. Either it follows and panders to the trends of its time, or it entertains a reflexive attitude and struggles with it. Art can never disengage itself with its own time, whatever form the relation of the two takes. Since the end of the Second World War, Taiwanese painting has gradually cultivated an “Aesthetics of Femininity” that blends the Japanese culture and Oriental philosophy. It is one of the representative characteristics of Taiwanese culture. This study will propose a new angle of reading, confronting the female subjectivity face to face without undue emphasis or altogether evasion. This study will examine the femininity within the contemporary ink painting, propose a systematic discourse of “feminine aesthetic appreciation,” and shape a corresponding series of thematic creation. This study will be divided into seven parts. The first chapter will be the general introduction, describing the motivation and purpose of the creation, the subject and range of the research, the methodology of research and its limitation, and some explanation of technical terms. Primarily, this study examines the phenomenon of cultural hybridity within artistic styles and conceptions under the frame of globalization. Through this examination, this study engages the issues of cultural tradition, and taps into the possibility of resurrecting the creative awareness of “feminine aesthetic appreciation” within the contemporary cultural context. From another perspective, within the diversified fields that surround the contemporary art, the artistic value is attempting to absorb postmodern methodologies such as deconstructionism and semiotics, as well as Chinese and Western aesthetics. Through the delineation of this theoretic influence, the study attempt to point out the ideology that places the masculinity over femininity. At the same time, this study examines the signification under different perspectives to endow feminine creative ink painting with a richer aesthetic structure. The second chapter is the analysis of Chinese and Western literatures. The literature analysis includes the feminine writing of the western culture and the feminine aesthetics of the Eastern culture. This chapter also delineates the feminine prototypes and works of classical ink paintings. The third chapter utilizes the innate values of the femininity and gender thinking of the cultural diversity to deconstruct the traditional dualistic thinking; it also tests this deconstruction in contemporary creative ink paintings which are based on feminine aesthetic appreciation. Chapter four focuses on relevant discourses on contemporary art, taking the external signifier and referential signified of contemporary creative ink paintings as objects of investigation. It also examines the personal signifiers and the creative intentions in border-crossing attempts to create new ink paintings. In fifth and sixth chapters, the study moves on from theoretical investigation to practical performance to create corresponding works. Through the elaboration of concepts and trial and invention of image forms, the study culminates in the Hidden Entry Series of ink paintings. The study ends with an objective analysis and self-criticism of the resultant works. In conclusion, the study wants to point out a problematic viewpoint. In the diversified artistic environment of Taiwan, if our viewpoint still rests on erroneous equalities, such as “ink painting equals to the traditional” or “western-styled equals to contemporary,” it is possible for the art of ink painting to be banished forever to the border of the contemporary. It is the author’s belief that, for the art of ink painting to have free exchange with the contemporary, the concepts of femininity and contemporary ink painting must not be confined to the traditional definitions. It is only on this condition that the hidden feminine aesthetics can serves as crucial evaluation for creative works of painting.