佈滿空間的碎片：水墨畫的「佈滿畫」形式

當代水墨的發展越來越多元紛呈，在眾多水墨畫家的嘗試與探索中，有些水墨畫家採用「佈滿」、「空間平面化」、「碎片化」的表現方式，逐漸成為當代水墨中獨樹一幟的風格一。本文借用美國藝術評論家格林伯格提出的「佈滿畫」（all-over painting）一詞，來討論具有此特質的當代水墨作品。文章一開始首先從格林伯格對美國20世紀抽象表現主義（Abstract Expressionism）的評述入手，討論抽象表現繪畫中的「佈滿畫」構圖表現手法。接著本文以幾位前輩水墨畫家作品為例，討論他們在發展水墨風格抽象化的過程中，如何融貫古今中外的風格，並在具象和抽象的表現之間開發自身的創作語彙。本文的最後一部分，選用柯偉國、曾詩涵、黃郁筑的作品來做探討；這三位水墨創作者所採用的「佈滿畫」水墨創作風格，對於抽象和具象的平衡，與各自理性面與感性面之取捨運用有所關聯，也與各自的精神追求與情感脈絡有所呼應。

關鍵字

佈滿畫；碎片化；具象；抽象

並列摘要

The development of contemporary ink painting is becoming more and more diverse. In the attempts and explorations of many ink painting painters, some ink painting artists have adopted the expression methods of "fullness", "space flattening" and "fragmentation", and these methods have gradually become unique within contemporary ink painting. This article uses the term "all-over painting" coined by American art critic Clement Greenberg to discuss contemporary ink works with such qualities. The article begins with Greenberg's comments on Abstract Expressionism in the 20th century in the United States and discusses the compositional expression technique of "all-over painting" in abstract expression painting. Next, this article takes the works of several forerunner ink artists as examples, trying to elaborate how they integrate ancient and modern, Chinese and foreign styles in the process of developing the abstraction of ink art styles and develop their own creative styles between figurative and abstract expressions. In the last part of this article, the works of Ke Wei-guo, Zeng Shi-han, and Huang Yu-zhu are selected for discussion of the "all-over painting ink painting style" adopted by these three ink painting creators, the balance between abstraction and figurativeness, and their rational and emotional aspects. The findings show that choice and use are related, echoing their own spiritual pursuit and emotional context.