詮釋資料說明

文件類型

研討會論文

研討會

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

題名

水墨？國畫？必也正名乎！

題名(英)

Ink Painting? Chinese Painting? Which is the Correct Name?

作者

熊宜敬

期刊

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

單元

論文

出版西元年月日

2022/02

頁次

第93-105頁

關鍵詞

85新潮 、 中國繪畫 、 台灣水墨

關鍵詞(英)

85 Art Movement 、 Chinese Painting 、 Taiwanese ink painting

全文內容

台灣，從60年代開始；中國大陸，自「85新潮」之後；「水墨」一詞與議題先後躍上美術運動舞台。由於所使用的媒材、畫具源出於「中國書畫」，由於藝術家們對於創作觀念「新」與「舊」的詮釋不一，也由於各方人馬對於藝術未來發展的各自表述，現代「水墨」與傳統「國畫」的路線之爭就未曾歇息過，而且愈發混淆，以今為最。
對於藝術學子來說，二者各自的立論為何？意旨如何？範疇如何？技法如何？乃至於二者的關係如何？如今都讓有志於使用相類媒材的後學者無所適從，因此有必要再彈老調，嘗試為「水墨」與「國畫」正名，讓後學者在學習和創作的藝途上能明確選擇，有所依循。

「水墨」這一藝術品種並非台灣藝術界的禁臠，日本、韓國、香港、中國大陸乃至於歐美，都有以「水墨」為媒材的藝術項目，發展過程與創作觀念、技法、文化屬性⋯等等各成體系，與「中國繪畫」並無瓜葛。若台灣將「水墨」與「國畫」明確的定義為兩種平行並存的藝術創作品種，反而有助於「台灣水墨」與各國或各地水墨界的分庭抗禮，爭取更多國際發展的空間。

也就是說，「國畫」，應該定義為以中國繪畫發展脈絡進程中所建立的審美標準、基礎鍛鍊、人文內涵的要求為準繩，進而追求時代精神開創新意與弘揚優秀傳承的藝術品種。而「水墨」，則是以媒材為主體可以不受任何約束的藝術創作新品種，創作養分可以汲取古今中外，技法可以實驗新造，立論可以自我梳理。如此，就可以清晰的給予有志於藝術創作者明確的選擇自己想走的藝術道路。

全文內容

After the 60s of Taiwan and after the “85 Art Movement” of China, the term “ink” and its related issues started to appear on the stage of fine arts movement. With the media and painting tools originating from “Chinese calligraphy and painting,” the artists’ different interpretations about the “new” and “old” creative concepts, and the different opinions about the future development of art, the competition between the modern “ink painting” and traditional “Chinese painting” has never stopped, and the boundary is even more blurred today.

For art students, how do they define the two? What do they mean? What do they include? What are the skills? What is their relationship? The learners using the similar media do not have a standard to follow. Therefore, there is the need to start from scratch and try to officially define “ink painting” and “Chinese painting” so that the new learners will make a clear choice and have something to follow on the way of art learning and creation.

The art of “ink painting” is not only limited to the art circle of Taiwan. In Japan, Korea, Hong Kong, China, and even Europe and America, there is the art category that adopts “ink” as the medium. As for the courses of development, creative concepts, skills, and cultural attributes, each has the different system not related to “Chinese painting.” If Taiwan clearly defines “ink painting” and
“Chinese painting” as the two parallel and existing creative species of art creation, it will help the independent existence of “Taiwanese ink painting” from the ink art circles of other countries and places to strive for more space of international development.

In other words, “Chinese painting” should be defined by the requirements of the aesthetic standard, basic training, and cultural content established in the context and course of Chinese painting development and further evolve into an art species that pursues the spirit of the time, makes innovations, and promotes the outstanding heritage. On the other hand, “ink painting” should be the new species of art creation with the media as the subjects without any restraints. Its creative nutrients can come from the ancient and modern time and Chinese and foreign countries. Its skills can be experimented and invented. Its argument can develop itself. In this way, the art creators will be given a clear concept to choose their own art path.

出版者

國立國父紀念館

出版地

臺北市

備註

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