研討會論文

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會

外溢的美學—戰後台灣「潑墨」語境之觀察

The Overflowing Aesthetics: An Observation of the Language Context of “Splash Ink” in Taiwan after WWII

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會論文集

論文

2022/02

第9-25頁

水墨畫以毛筆、墨、宣紙為主要創作媒材，表現與發展歷程特殊，為華人社群之專屬之文化表徵，更被標誌為「東方」藝術，以區別於西方藝術形式。水墨表現獨特，技法也迥異於其他創作形式，「筆墨功夫」乃書畫創作者一生精進的法門，甚至是心門。筆墨亦成為千百年來書畫傳統論述的核心之一。戰後台灣的筆墨議題被討論最頻繁的應該是「拓印」與「潑墨」。一般咸認台灣潑墨大宗為張大千，因其盛名。但根據筆者調查，戰後台灣「潑墨」一詞如何興起與漫延，其實非大千居士專屬，而是有廣泛的語境，形成一個外溢的美學現象——意味「潑墨」已為台灣社會各領域所沿(延)用，形成一個豐富的語言環境，既限定了潑墨的特定水墨表現意涵又延伸了其本義。潑墨在台灣的發展乃是傳統與現代激盪下的共享技法與藝術概念，雖張大千集大成但在時空上各有分殊表現與演繹理路。研究發現：潑墨非水墨界之專屬概念，文學甚至比書畫更早使用，景觀描述習之以為常，表演藝術與電影藉由潑墨意象營造東方詩意氛圍，古典音樂以潑墨為創新路徑而現代流行音樂也以潑墨、工筆作為歌唱風格的區分，陶藝、工藝、設計等等以潑墨開發創意展示文化特色，當代藝術也借用潑墨傳統進行反諷與顛覆⋯⋯在在構成了豐富的「潑墨日常」，從語境的應用廣度來看，是共享的，也是「同床異夢」的，顯示傳統的潑墨在技法與概念上有其開放性，並非閉鎖，是與時俱進的。一如潑墨的溶與破的效果，戰後台灣潑墨美學與論述有此外溢的現象，水墨和其他藝文領域合奏成一首動態繽紛的「台灣潑墨交響樂」。潑墨美學的外溢現象可作為考察台灣水墨對日常生活的影響狀況，是本土藝術社會學的典型案例。

With the major creative media including brushes, ink, and rice paper, ink painting has the unique process of representation and development. It is the exclusive cultural symbolof the Chinese society and marked as “Oriental” art distinct from the western art form. Ink painting is a unique art representation with the different skills from other creative forms. “Theskills of using brush and ink” are the lifelong lessons for calligraphers and Chinese painters to develop and even be engraved on their mind. The use of brush and ink has also become a core of the traditional calligraphy and painting discourses in the past thousand years. The related issues most frequently discussed in Taiwan after war should be “rubbing” and “splash ink.” It is believed that the splash ink master with great fame in Taiwan is Zhang Da-qian. According to my study, the origin and development of the term “splash ink” in Taiwan after war is not exclusive to Zhang Da-qian. Instead, there is a wide language context forming an overflowing aesthetic phenomenon, which means that “splash ink” has been applied to the different fields in the society of Taiwan, such as literature, music, performance, craft, and scenery and formed an abundant language environment. It not only limits the specific ink representation of splash ink but also extends its meaning.

The splash ink in Taiwan develops with the shared skills and art concepts of tradition and modernity. Despite the comprehensive collection of Zhang Da-qian, there are different representations and interpretations in terms of time and space. Splash ink is also not the exclusive concept of ink painting. It is adopted even earlier in literature, where the landscape description is common. The Oriental mysterious atmosphere is also created in performing arts through the image of splash ink. Splash ink is used as an innovative path in classic music. The singing styles of modern pop music are also separated into splash ink and meticulous skills. The new creativity of craft and design are also developed with splash ink to show the cultural characteristics. The tradition of splash ink is also applied to present ironies and subversion in contemporary art . . . All these compose the diversity of “splash ink in daily life.” Considering the application scope of the language context, it is not only shared but also evolved into different perspectives, indicating the openness instead of closeness of the traditional splash ink in skills and concepts as it moves with the times. The overflowing aesthetics of splash ink can be the model case of local sociology of art to study the influence of ink painting on daily life in Taiwan.

國立國父紀念館

臺北市

ISBN:978-986-532-559-6(平裝)
GPN:1011100213