虛無嘲弄的內在悲憫：圖像記號的人道情操

Inner Mercy:Mocking at Nihility and Humanity of Symbols

盧天炎(Tien-Yen Lu)

指導教授 ： 張正仁

國立臺北藝術大學/美術學院/美術創作碩士班/碩士(2005年)

摘要

悲憫，語見韓愈「爭臣論」：『畏天命而閔人窮』今語悲天憫人，即憂
念時艱、憂慮世事之意，這是一份華夏知識份子優質的胸襟和傳承。
台灣自1987年解嚴以來，「去中國化」已成必然之勢，尤其是朝野更
替後中原文化逐步趨向虛無化的過程，觸發了筆者進行檢視台灣人文在這
股風潮中的反應，以悲憫的中心思維針對台灣社會及政治的特質性，提出
圖像記號的嘲弄來諷諫文化走入虛無的危機。
本論述前言闡釋「中華民國」國體在「台灣」地域的意涵、台灣政治
和人文的現實以及「搶救記憶」創作命題的提示。文中第壹章「搶救記憶」
的預見和警示，陳述命題形成的時代背景、美學傾向和立足點。第貳章「圖
像記號的嘲弄語言J記載圖像記號形式的演繹、研發，筆者與多位藝術家
圖像記號引用的比對，以及闡述「嘲弄」在時代調性中的脈絡。第參章「悲
憫」的創作歷程，是探討、分析作品印證形式和內容的理論框架與執行效
應，尤其著重在藝術性與結構張力上對應的剖析。
全篇由三個創作階段一「石器時代」1986-1992,「文物誌」1993-1997
及1998年以來「搶救記憶」中的六個系列：「石器」、「文物」、「匾額」、
「血書」、「出賣中華民國」和「搶救記憶」的作品為主軸，透過「圖像記
號」延展的貫穿與彰顯，意圖呈現台灣人在面對生存無汰自主及內在人文
又遭逢淺碟虛無命運時所衍生出矛盾、弔詭甚或「賭濫」荒謬情結的嘲弄
表述；並以近期發表「悲憫」畢業個展的分析報告作為本創作論述的佐證
和重心。

關鍵字

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並列摘要

By Mercy, a reference made to a quotation from "On Contending Officials"（爭臣論）,
by Han-Yu in Tang Dynasty - to beware of the divine wish and to have mercy to all the
general public poor - I mean universal charity, in perceiving the predicament of the
time and in sharing the concerns with the existing situation. This is the great
Magnanimity and the cherished inheritance of the educated elites in the long history in
China.
Since the end of the Martial Law in Taiwan in 1987，"De-Chinalization" has seen a
definite trend. This is especially obvioue after the opposition party came to power in the
rotation of the government administration, and the mainland culture has gradually
undergone a process in the direction toward "Voidism." It was this new trend that inspired
the author of this thesis to observe the reaction in the cultural circle in Taiwan. The
objective is to present a pictoral sign mockery to warn of the danger in the culture to move
toward that direction.
The preface in the thesis defines the meaning of the national entity of the RO.C., the
Republic Of China on the Taiwan islands, the status of the politics and culture in
Taiwan, and the use of "Rescuring Memory" as a creation theme.
In Chapter I, mention is made of "Rescuring Memory" regarding the background of
its origin for the title, its artistie consideration and its reasoning in premonition.
In Chapter II, "pictotal sign as a language of mockery", states the evolution, research
and development of the pictoral sign forms．Contrasts of the pictoral signs are also
made between the author of this thesis and several other astists．The chapter concludes
with the statement of "mochery" as a means to the historical adaptation to the time.
In chapter III，is the creation process of "Mercy", explorating and analysing the frame
work of the art piece in terms of the form and content，as well as the impact of its
execution. Special emphasis is placed herewith on the analysis of the art and structural
power.
The thesis is composed of three creation stages - "Stone Age" 1986 -992：" Cultural
Notes", 1993-1997；and "Rescuing Memory" since 1998-with the six series as the
main theme: "StoneTools", "Relics", "Plagues", "Blood Pleas", "RO.C. Betrayal" and
"Rescuring Memory"．The aim is to present through the overall and revealing extension
of the pictoral signs, the helplessness of the Taiwanese people in the face of existence.
At the same time it is to show the dilemma arising out of the fate of shallow voidism in
term of the internal culture，in whilmsical and even "degrading", ridiculous
complications of sareasm. The analytical repont on the most recent launch of "Mercy"
in the personal commencement exhibition provides the witness and focus.

並列關鍵字

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參考文獻

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Rudolf Arnheim著；李長俊譯（1976)《藝術與視覺心理學》。台北市：作者自印·

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