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題 名 | 臺灣的「素人藝術」--洪通現象再解讀=Folk Artist in Taiwan: Reexaming the Hung-Tung Phenomenon |
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作 者 | 林子忻; | 書刊名 | 萬能學報 |
卷 期 | 21 1999.08[民88.08] |
頁 次 | 頁99+101-114 |
分類號 | 909.33 |
關鍵詞 | 臺灣; 素人藝術; 洪通; |
語 文 | 中文(Chinese) |
中文摘要 | 本文試圖以一個藝術社會學的觀點,重新檢視洪通(1920-1987)這個臺灣美術史上曇花一現的現象。對於這位自發式的創作者,以及他一時難以學術理論解讀的作品;本文以為洪通的作品是在一個特定社會評論制度裡,被界定以符合既定之評論價值,更是在一個歷史時空的文化脈絡裡,被賦予符合時代趨勢的意涵。 就牽涉具備相當文化素養的藝術創作活動而言,洪通畫作所表現的自發、天真和樸拙,以及他繪畫技巧的單薄,本文認為不能以「素人」或「樸素」等,這些強調來自未曾受過學院訓練的藝術創作涵蓋之,更遑論臺灣的評論界通常以此指稱一些雖未受過學院的專業訓練,然而明顯具有相當文化素養的畫家(余承堯、李永沱)。至於洪通畫作的意涵,也在臺灣七○年代一片「回歸鄉土」的趨勢裡,被視為鄉土運動圖騰;另一方面,七○年代的美術評論制度,其中包括發掘洪通的《漢聲》雜誌,大肆報導洪通其人其事的報章藝文版,以專題深入介紹洪通作品的《雄獅美術》,以至於許多規模龐大的洪通作品展覽會,都一再地確定了洪通在臺灣七○年代藝術地位的正統性。 本文在重新檢視洪通現象的同時,不僅試圖揭示洪通現象的形成,與它在一特定歷史脈絡取得正統地位的經過;更希望以洪通的出身和成長背景,連繫其繪畫活動的意涵-一位典型的「民俗藝術家」。是以,洪通可能正是一位原本樸拙的畫家,他的畫作單純只是反映他的生活經驗時,卻被賦予「素人藝術」的頭銜與「回歸鄉土」的使命,這種意涵的落差與衝突,在時過境遷之後,自然也化為烏有了。 |
英文摘要 | This article attempts to reexamine the status of Hung Tung (1920-1987) in the Taiwanese arts community. His once extremely popular works shocked the community in early 70's, in a way that never seen before in the Taiwanese arts history. His apparently self-taught practices, producing otherworldly paintings that were beyond the established academic critical theories. This article believes that the critical institution through out the 70's bestowed his works a legitimate position, while the cultural context in the same period appropriately discovered their seemingly cultural significance. Artistic painting as a creative activity, to some extent, required so much of academic and cultural training. Hung Tung's works demonstrated weak painting techniques, but presented a world of innocence and naive interest. This article argues, the fact that Hung Tung had never received any academic training, does not easily makes him either an "non-educated artist" or "naive artist", as critics always claimed. And, the cultural development in the 70's, calling for a "return to the locality", also attributed meanings to his works that too much to sustained the changing social developments. Therefore, a simple "folk artist" such as Hung Tung, whose grass-root painting may merely tries to reflect his rural experiences on one way, and shows his imaginations on temple arts through paintings on the other; however, the institutional legitimate position and the cultural significance of that certain period, all proved to be arbitrary. |
本系統中英文摘要資訊取自各篇刊載內容。