張品慈水墨創作論述－當代文人畫的失衡與平衡

Abstract

本文以經驗論的「失衡」－「適應」－「平衡」相關理論作為討論的基礎，認為生活在今日的水墨創作者，由於時代快速變遷，對於中國畫史中的「文人畫傳統」，可能產生一種認知心理學上的「失衡」狀態。筆者以「文人畫的失衡」作為理論研究之開端，先探討「失衡」的演變和現狀，並討論「適應」創作行為的產生。接著，本文以「文人畫傳統」作為核心，分別提出兩個討論議題：1.「虛構的故國懷鄉」；一方面以「虛擬移民」理論，說明文人畫作為區域性文化在全球化世界之中其價值的突顯；另一方面說明水墨有其媒材上、名詞上的歷史特徵，使文人畫傳統在水墨創作中意義甚巨。2. 「以人為主的創作核心」；本章著重題材上的轉變與環境之關係，從明代山水畫中「人」的重要性提高，和明末畫家陳洪綬的創作探討中，說明文人畫傳統有由從山水母題轉向人物或生活化主題的趨勢。最後，對於傳統文人畫的認知「失衡」提出當代水墨創作的「平衡之可能」，探討具體相關之創作觀，從「人物造型」和「畫面空間」兩部份分述。對傳統文人畫之相關理念賦予更多的當代價值。筆者以自我創作說明：在當代試圖保有傳統文人畫美學及水墨媒材特徵的前提下，所自然完成的創作適應行為──「在文人畫失衡語境中平衡的一種可能」。並肯定這樣的「可能性」之存在，呼應經驗論學說，此乃促成文人畫得以在歷史中如「生命體」般不斷衍生、流傳的原因。This study is based on the concepts “equilibration”, “Adaptation” and “disequilibrium” of Empiricism. Because of the times have changed so rapidly, the Chinese ink painter who lives in nowadays may get into the state of “disequilibrium” when learning the tradition of literary painting. The writer makes “The disequilibrium to the contemporary Chinese literary paintings” as the primary topic, discuss how does it exist and how does the behavior of “adaption” develop . To be the core of article, the tradition of literary painting would be discussed separately in two parts : 1. The imaginary homesick: To explain that the value of Chinese literary painting would be revealed because of the “virtual migrancy” theory. 2.The “human” as the central creation theme: The relation between the varieties of painting themes and environment would be emphasized in this part. There is a trend that the tradition of Chinese literary painting changes its theme from landscape to common human due to the importance of “human” in the landscape painting had increased in Ming dynasty. In the other hand, we can see the artist Chen Hong-shou who shows us a typical model. Finally, as the “equilibration” to the “disequilibrium”, I submit the following concepts of creation practically. There are two subjects be mentioned, one is about the mold of human and the other is about the pictorial space of painting. To explain by self-creation : The creation of adoption that keeps the feature of traditional literary painting and ink media in contemporary ― a possibility equilibration of literary painting which in the state of disequilibrium ― is put into practice. And recognized the “possibility” is feasible. To connect with Empiricism, that is the reason of literary painting get extension and spread like “living life” in Chinese history.