從變異與歸元－談水墨精神的超現實性

Discussing the Surrealism of Ink Spirit-From the Perspectives of Variation and Back-To-The-Origin

李憶含(Yi-Han Li)

《視覺藝術論壇》 5期 (2010/07) Pp. 122-141

https://doi.org/10.29523/VAF.201007.0007

摘要

二十世紀以來，爲改良中國傳統藝術的既定型態，中國自五四運動起即更加傾向西學，知識份子高喊主張向西方的橫向移植，在藝術上強調個人學習屬性不同的樣式，以致對自身文化造成極大的影響。而其主要的癥結，顯然是在於中國藝術以群體意識爲中心，而西方則以個體意識爲重點。這種意識形態就是東、西不同的根本所在，而後也由此衍生出種種變化。
藝術創作與社會文化的關係極爲密切，當代生活趨勢因現代文明的急遽發展而空問壓縮。在這歷史凝結的現實世界，由於文化錯位、精神突變與主體分裂，顯示出人類藝術演化趨勢的內含與外延。然而，演化趨勢經常因不同的歷史時空與相異的人、事、物而有所差別。再者，風格建構中有關宇宙自然、現實人文與夢幻心靈問詭譎的互動關係，也是由於東西方不同的思想、觀念與意識，而呈現出迥異的精神導向。因此，在本文研究方法上，筆者主要以東方美學與藝術理論爲本，對於「東西遇合」的文化意識、水墨美學的精神蘊涵，以及當代藝術的超現實性，則酌量參考精神分析學家佛洛伊德《夢的解析》與榮格的原型理論，藉以說明藝術創作者如何以敏銳的的自我覺察，探勘自身意識與生活環境所激撞的真實經驗，並且經由主題探漸次延伸到生命本質的內省觀照。

關鍵字

橫向移植 ； 群體意識 ； 水墨美學 ； 生命本質 ； 原型理論

並列摘要

In the advent of 20th century, Chinese lateral transplantation towards the West, originated from the intent to enhance the established patterns for Chinese traditional arts. The learning attributes tended to be of different types; therefore, it caused tremendous impact to its culture as well as arts. The main culprit obviously rested at the collective consciousness as the center for Chinese arts, as opposed to the Western one's focusing on individual consciousness. And this type of ideology had been the root of difference between the East and the West; hence, many variations have derived from this.
The relationship between artistic creation and the society culture is rather close- knitted. Trend from the contemporary artistic living would undergo space compression due to rapid development from modem civilization. In this realistic world, frozen in history, it would display the content and extension from human artistic evolution trend, resulted from cultural dislocation, spirit and mind mutation aswell as split from the main body. Nonetheless, there were differences in the evolutional trends, frequently triggered by different historical time and space, different people, things and objects. Moreover, the tricky interactive relationships among cosmos nature, human reality and dreams and souls are also resulted from the different thoughts, senses and consciousness between the East and the West, displaying spiritual guides where they would be totally different. Hence, within the research methodology approach, the oriental aesthetics and artistic theories are the primary foundation to sustain all of these. As for cultural consciousness from the east and the west encountering, the spiritual contents for ink aesthetics and the contemporary artistic surrealism could somewhat reference the Freud 《The interpretation of dreams》 and Jung's Archetype Theory. These can illustrate how the artistic creator can explore the self consciousness and the actual experience inundated and stimulated by collisions within the living environment through the acute self awareness. Additionally, through the thematic exploration, it can then gradually extend to introspective reflection from the essence of life itself.

並列關鍵字

Lateral transplantation ； collective consciousness ； Ink aesthetics ； the essence of life ； prototype theory