速食消費．卡漫風 — 洪雅倫彩墨創作探討

Abstract

本研究大致分為兩條脈絡，先從繪畫的內涵層面談起，闡述速食消費的題材立意，其次，分析繪畫的表現風格，梳理水墨畫類中卡漫風格的多樣面貌，最後歸結到筆者個人的作品。 就消費社會的時代背景敘述起，了解消費社會成形的經濟和心理因素，以及台灣消費社會的發展。切入速食消費的議題，探究象徵西方美式文化的速食如何席捲全球，如何進軍以米食為主的台灣，其伴隨而來的全球化與在地化衝擊、資本主義盛行、以及人類肥胖化危機。探究速食消費如何打動消費者的心，成為不可或缺的一部份。以索緒爾符號學的觀點、羅蘭巴特的符號論，以及鮑德里亞爾消費符號理論切入速食消費背後所承載的符號意涵。最後，轉至消費文化與藝術的結合，大眾消費如何與卡漫圖像相結合，帶到下一章卡漫風格的探討。 卡漫如何根殖於現代人生活當中，是大眾流行文化的風靡，是東西方思潮的介入，從歷史脈流裡晚明變形觀念對人物造形的拓展，普普藝術與後現代思潮的影響，以及日本超扁平的引入，於是創作者們反覆多方地大膽嘗試，使現代水墨也介入了卡漫風格，造就水墨卡漫風格的成型。 從中國漫畫談起，了解中國傳統漫畫諷刺幽默的特徵，尋找歷史的根源，接著談到對台灣影響很大的日本漫畫，它是如何將觸角深入台灣，改變台灣漫畫系統。更縱向切入歷史的脈絡，探索傳統藝術作品中所具有的卡漫風格雛型。就卡漫風格衍生出的多個面向，分述卡漫風格的共同性與分歧點，列舉多位藝術家加以闡明，再以橫向的時代背景去做卡漫風的價值澄清，最後，回歸筆者自身，述說個人的創作理念與形式，以及個人作品中因借麥當勞叔叔和肯德基爺爺造型的卡漫風格。藝術，是時代的鏡子，在當下發生，產生意義，藝術家表現之。

關鍵字： 彩墨、水墨、卡漫風、超扁平、速食消費、符號消費。

The goal of this paper was divided into two topics; the first topic was the connotation of the drawing, describing the conception of fast-food consumption; then, the second topic was the analysis of the performance style of drawing and the arrangement of the many aspects of the ink painting with comic caricature. Finally, the two topics were able to be concluded by my own works. In order to understand the economic and psychological factors of the form of the consumer society and the development of the consumer society in Taiwan, first I had to describe the background of the consumer society. Next I discussed the issues of fast food consumption to investigate how fast food, as a symbol of the western food culture, swept the world and spread quickly in Taiwan, because rice is the main food for the Taiwanese. Besides, the impact of globalization and localization, the prevailing of capitalism and the risk of human obesity caused by fast food were incidental to Taiwan society. Also I discussed how fast food consumption could touch the hearts of consumers and why fast food could become one part of the consumers’ life. With the view of the semiotics proposed by Ferdinand de Saussure, the symbolism proposed by Roland Barthes and the consumption symbol theory proposed by Jean Baudrillard, I studied the meaning of the symbols for fast food consumption. Last, I investigated how the consumer culture and art, the public consumption and comic caricature images combined together, and I would discuss the style of comic caricature in the next chapter. Because the prevailing of popular culture and the introduction of a trend mixed with eastern and western thought, the comic caricature took root in the modern life. The authors could try many ways to make pictures via the character modeling, like the concept of the deformation of the late Ming Dynasty, the impact of the pop art and post-modern perspective and the injection of the Japanese Superflat. Therefore, the modern ink painting was led into cartoon style, and the ink painting with cartoon style has been developed. I investigated the Chinese comic at first to understand the character of the traditional Chinese comic satirical humor and search for the source of the history. Then I discussed about the impact of the Japanese comic on Taiwanese and how the Japanese comic could touch the hearts of Taiwanese and change the comic system in Taiwan. Also I explored the prototypes of the traditional art works with cartoon style from the art history and respectively described the common point and bifurcation of the cartoon style from many aspects. Besides, I listed some artists to clarify the viewpoints and values of the comic caricature from the aspect of history. Finally, I talked about my own creative idea and form and described the cartoon style of my works borrowed from Uncle McDonald and KFC grandfather. Art is mirror of time and is created on the instant. Then the meaning of art is born. The artists try to show it.

Keywords: Colored ink painting, ink painting, comic caricature, Superflat, fast food consumption, symbolic consumption.