眷村情懷-以屏東東港共和新村為例之水墨寫生創作論述

Abstract

藝術創作的泉源往往來自於生活經驗。筆者自幼成長於眷村，村子裡的一草一木都是成長記憶裡的重要角色。眷村承載著集體的記憶，隨著時光流逝，社會功能及環境丕變，眷村逐漸消逝走入歷史，從歷史文化的角度看記憶的真實，從片段的影像看痛與情感在畫中的呈現。筆者水墨系列畫作〈眷村情懷〉由屏東東港共和新村之台灣眷村文化出發，抽取時代記憶為創作靈感，將眷村符號與情感做連結，透過筆墨將眷村人獨有精神生活與感觸表現出來。 眷二代的我，本著這份懷鄉情感，極力於眷村消逝前為此創作。透過此一研究回顧過往於台灣落腳的藝術家們如何深耕這塊家園土地，如何為歷史文化留下註腳，並循前輩們之足跡期許自勉。本乎黃賓虹《畫語錄》所言：「畫有民族性，而無時代性；雖有時代改變外貌，而精神不移」，這個不移的精神是中國傳統文化精神，在藝術前進的步履中繼續書寫「台灣」。 研究之重點內容： （一）水墨創作中「眷村」與自然與人的關係。 （二）探討畫創作的理念和學理基礎。 （三）研究從寫生實踐中，融入意境，彰顯「眷村」的風格和特色。 （四）探討創作「自然形式」轉變成「藝術形式」的過程。 （五）思考面對社會變遷與西方藝術的衝擊，水墨畫的繼承與創新。 因著這樣的書寫描繪，讓眷村人珍視、保有曾有的生命經驗，也讓非眷村人看見同樣真實而值得尊重的生活過程。不管是漳州人、泉州人、福佬人、客家人，還是本省人、外省人、眷村人，每種族群背後，除了隱含對自我族群的認同與他者的疑懼，也同時包括一段又一段於此落地生根的艱辛歷程，這艱辛費時的在地化過程，是值得被認真對待與理解。

It is one’s life experience that always nourishes and inspires his or her artistic creation. I grew up in a military kindred village. Every blade of grass and every tree in the village are indispensable parts of my memory of growth. The military kindred village reflects collective memory of people, however, as time passes by, the village fades away and gradually becomes history as its social functions and surrounding environment evolve. The fidelity of memory may be found through the eyes of history and culture. Fragments of image shown in the paintings illustrate the sorrow and affection. The series of ink paintings of “Military Kindred Village Memory” starts from the culture of Republic Village in Donggang. With this initiating, I adopt the memory of generations as the inspiration for creation and connect the symbol of military kindred village with affection. The unique spiritual life and emotion of people from military kindred village are thus revealed by my brushes and paints. Such literature and depicting remind village people to cherish and preserve what they underwent in life. And people outside of the military kindred village will therefore perceive the same genuine life, which deserves their respect. Behind every ethnic group, either people with Zhangzhou, Quanzhou, Hoklo, or Hakka origins, or Islanders, Mainlanders, or villagers, besides the concealed self-identification toward one's own, there is mistrust against foreign ones. The hardship endured for touching ground and taking root here in Taiwan is also embedded in the localization process of every group, which deserves to be sincerely regarded and recognized.