解嚴後台灣藝術家對政治神話的解構－－以楊茂林、吳天章為例

Abstract

以神話題材反諷政治議題藉以解構台灣政黨政治下所操弄的意識型態，是80年代台灣當代藝術的特殊現象。在西洋美術史中也有類似的表現，如James Gillray的政治諷刺漫畫。後現代理論學者羅蘭‧巴特則認為神話與歷史間有密不可分的關係，神話本身即具有歷史性。 本論欲討論台灣當代藝術表現中，使用神話題材的作品，其背後的議題論述到底為何，以及觸發這些畫家神話題材美術表現的時代氛圍如何形成。並藉由分析神話題材創作的內外在形式，以了解藝術家塑造神話故事的方法模式，並探討神話與神話背後所指涉的真實內容之間的關聯性。最後藉由政治事件的時空對照，探討在神話創作中採用的反諷手法與隱射內容，以作品反映的心靈不安與依歸及政治議題，作為神話學角度的探討。 本論藉由台灣藝術作品中的神話表現的分析，追溯台灣藝術作品中的神話形式的起源，建立神話形式在台灣美術史上的發展脈絡，並探究在解嚴後達到巔峰的神話表現形式的意義，確立在台灣美術史上神話的特有的定位以及分析出神話表現在台灣美術史進程中的作用與影響。The use of Mythological subject matter to discuss politics and underlying puppetry in political parties is characteristic of Taiwanese contemporary art in the 1980’s. Similarities can also be found in Western art History. The political comics of James Gillray are an example. Post Modern theorist Roland Barthes believes that mythology and history have an inseparable relationship, and that mythology itself is a type of history. This paper wishes to discuss the use of Mythological pieces in Taiwanese contemporary art, the reasoning behind it, and the motivation of the artist as well as the atmosphere surrounding how these works developed. By analyzing the mythological creations inner and outer form we will attempt to understand how the artist creates and molds his story as well as how its content relates to actual events. Lastly by bringing to light political events, we will discuss the manner and technique by which the artist satirizes and insinuates, using his work to cleverly reflect the uncomfortable political state of affairs through the study and discussion mythology. Through the analysis of Mythological based art works in Taiwanese Art, we will trace the phenomena back to its origins, establishing along what lines the art form has developed. By researching post martial law mythological based expressions meaning at its climax, we will firmly establish the characteristics of mythological based expression in Taiwanese art history as well as its progress and effects.