從藝術社會學的角度探討國民美術的理念與實踐策略：以劉秀美為例

鑒於臺灣民眾真實生活經驗及社會藝術教育長期遭受藝術場域忽視，甚至出現藝術階層化問題。本研究特以Norbert Elias的社會形態及Pierre Bourdieu的場域資本論述，梳理國內推動國民美術著稱之藝術家教師：劉秀美的生命故事，藉以釐清國民美術核心理念與實踐策略之發展進程。研究發現，劉秀美推動國民美術目標在肯定所有人生命經驗的美學價值，藉由平等化的師生關係、自主性畫會組織、尊嚴且低價位之藝術展覽空間提供，以及貼近生活世界之美術課程設計等策略，賦予民眾基本創作權利。唯有如此，方能讓民眾在不平等社會規範下壓抑許久的情感和創作欲望獲得釋放，並透過具主體性的創作重新建構自己與歷史社會動態關係，進而達成多元族群和解。

關鍵字

社會藝術教育；國民美術；劉秀美；藝術社會學

並列摘要

For a long time now, Taiwanese people within the experience of their daily life and within social art education have been largely ignored by those in the field of art to the point that it has led to problems such as the social stratification of art and the homogenization of aesthetics. For this study, Norbert Elias' notion of social figuration and Pierre Bourdieu's sociological theories of field and capital have been utilized extensively to re-examine the significant value that civilian art can make. In order to clearly understand the core concepts and practical strategies of the development of civilian art, this study investigates into the life story of someone who has involved in the promotion of civilian art projects for a long time: Ms. Liu Hsiu-Mei. The results of this research reveal that Ms. Liu's purpose for promoting civilian art is to recognize the aesthetic values of everyone's experience. At the same time, she also wants to provide the ordinary people with the right to create and to exist with dignity and subjectivity by way of strategies such as equalizing the teacher-student relations, designing an art curriculum which is close to daily life, organizing the Painting Club, providing a dignified, yet low-cost space for art exhibition. Only in this way can the emotions and desires of ordinary people be set free from the constraints of an unequal society and by way of creation with subjectivity. Thus the general public can have the chance to reconstruct the dynamic relationship between the self and society in order to achieve the reconciliation of diverse groups.