廖修平「門」系列作品中的民俗題材

Abstract

摘 要 因引進歐美版畫技術、提倡版畫不遺餘力而有「台灣版畫之父」之稱的廖修平（1936-），不僅在版畫推廣上卓有貢獻，作為一個藝術創作者，其獨樹一幟的繪畫風格，亦值得加以深入研究與探討。本文即以廖氏首次奠定個人獨特風格的「門」系列作品（1966-72）為研究對象，企圖解讀其中大量採用的民俗圖像之意涵，以及其採用民俗題材的背後意義。 欲明瞭廖修平「門」系列作品的創作緣由以及民俗題材在「門」系列中所具有的時代意義，先要對廖氏畫業初始階段之時代背景有所瞭解，因此在第一章中，本文先將戰後五、六○年代台灣藝壇以及六○年代前半日本畫壇的狀況加以交代；「門」系列作品在廖氏留法期間（1965-68）的產生經過則在第二章有詳盡的敘述。至於作為「門」系列內容重心，並且是「門」系列幾何造型來源的民俗題材，則在三、四章中有深入的探討。「門」系列的民俗題材，包含門神、冥紙、民間工藝的裝飾紋樣、春聯以及民間彩繪的色彩等。第三章首先論述這些民俗題材之來源、意涵、傳統造型及使用場合，藉以分析比較廖氏在「門」系列中對這些題材的使用保留了哪些特質，造型方面有何轉變，在意涵上又有何種衍生與呼應。在第四章則從作品中一一指出民間美術造型與「門」系列幾何抽象風格的密切關係，並進一步說明「門」系列的幾何抽象與西方六○年代的後繪畫性抽象（Post-Painterly Abstraction）之間存在的巨大差異。 第五章的結論部分，試圖從「門」系列創作的時空背景，來探討「門」系列中民俗題材之出現，與日治時期的「地方色彩」（Local Color）觀念之間的傳承關係，以及六○年代台灣美術現代化思潮對「門」系列中採用民俗題材的關鍵性影響；並總結「門」系列的表現以及其重要性。Being the introducer of modern-day printmaking techniques to Taiwan, Shiou-Ping Liao (1936-) has been praised as "Father of Prints in Taiwan". However, besides his highly commended contribution to the popularization of printmaking in Taiwan, Liao's special painting style is also worth further investigation and research. This thesis will focus on the "Gate" series (1966-72) on which Liao first established his unique personal artistic style. The author also tried to decipher the meanings of those folk icons used in this series and the implied meanings of using those folk subjects. To understand how Liao created the "Gate" series and what folk subjects mean to the "Gate" series and the time, we should first understand the time when Liao started his painting career. Chapter 1 will first introduce the situation of the post-war Taiwanese artistic circles during the 1950's and 60's, and also the first half of the 60's of Japanese art circles. How the "Gate" series was created by Liao when he stayed in Paris (1965-68) is explained in Chapter 2. As for the folk art subjects, which are the most important part of the series and the sources of its geometric styles, were investigated in Chapter 3 and 4. The folk subjects in the series include: door god, paper money, Chinese decorative patterns, new year couplets and the colors used in traditional architectural paintings in Taiwan. Chapter 3 will first discuss where did these folk subjects come from, what did they mean, what are their traditional shapes, and when were they used. Then we analyze which characteristics were used in the series and what were derived or respond to their traditional meanings. Chapter 4 points out the close relation between traditional folk art styles and the abstract geometric style of the "Gate" series. Besides, it makes further explanation about the distinct difference between the "Gate" series' geometric abstraction and the 1960's Post Painterly Abstraction in America. The conclusive Chapter 5 investigates the background of the "Gate" series to understand the inheritance of the Taiwan folk subjects in this series from the "Local Color" idea in the Japan ruling times. Furthermore, the trend of modernization of Taiwan fine arts in 60's also influences the using of folk subjects in "Gate" series. The performance and importance of the "Gate" series is thus concluded.