原鄉的追尋

本創作論述〈原鄉的追尋〉共分四個主要章節，其中除了描述個人對不同題材及媒材創作的完整歷程，還針對自身的美學觀與歷史觀多有闡述。為了強化創作者作為自我論述者的直接性，本文以第一人稱的進行鋪陳，以下則為章節之概要：緒論、──原鄉意識概述：以淺白的文字，說明「原鄉」是個可以與故鄉作為對應，卻又異質於故鄉的概念。以通俗的方式來說，故鄉是一個人出生乃至長成的所在，是人切切實實撫觸的某塊土壤；而原鄉則偏重於指向為族群整體文化根源的「故土」。並且特別說明，本文並非是一篇鑽研於歷史考據的論文，而是基於個人之藝術觀點與審美品味所抒發的「創作論述」。第一章、日治時期畫家的「現代」與「原鄉」：說明原鄉意識之啟發及在其之前的在地風格，及日治時期的殖民化標準。第二章、四位原鄉畫家：將四位原鄉畫家生平及藝術歷程和特點，一一介紹；並闡述四位原鄉畫家沒有被「現代化」所帶來的「殖民化」所蒙蔽，而耽溺於無意識的形式美或造形語彙的蒼白尋求，反而是在畫面中注入更多鬱結和苦悶。第三章、原鄉的追尋：簡述個人接觸原鄉畫家的過程及其跟個人創作之間的關係。並且從題材及媒材方面介紹個人的創作，共分成：人物畫、風景與靜物；油彩和金屬凹版畫。並說明幾個我作為參照的對象之藝術表現，也再次肯定誠懇的態度在創作中之重要性。第四章、結論——整理與前瞻：本章主要在探討在我們追求風格語言的精練之前，更應省查自我內在的情感是否飽足，因為任何技術都是可以靠努力學習達到爐火純青的地步的，但內心才是使一位作者成為獨一無二的藝術家的決定要素。也期許自己繼續創作，並且在文化思想的自由度上更加廣闊。

關鍵字

原鄉；殖民；本土化；民族化語言

並列摘要

The analytical essay, titled “In Pursuit of the Native Land,” is divided into an introduction and four chapters which explicate the aesthetic and historical views of the artist , besides a delineation of his career in terms of subject and material. To emphasize that the artist is also the writer of the current essay, it is addressed in the first person. The summaries of the chapters are as follows: “Introduction: The Consciousness of the Native Land” foregrounds the ‘native land’ as a concept in reference to and different from that of ‘hometown.’ In contrast to the general understanding of ‘hometown’ as a place where one is born and raised, as a piece of land in substantial contact with people, the ‘native land’ tends to refer to the motherland which harbors the national and cultural origins. The introduction also stresses the status of the essay as the artist’s statement derived from his artistic views and taste, instead of as a historical documentation. “Chapter I: The ‘Modern’ and the ‘Native Land’ to the Painters of the Period of Japanese Occupation” traces the origin of the consciousness of the ‘native land’ and the native artistic styles that preceded it, as well as the aesthetic standard of the colonial period of Japanese Occupation. Chapter II offers an introduction to the life, career and characteristics of art for four painters, demonstrating that instead of indulging themselves in an aimless search for formal beauty or compositional vocabulary, the four painters infused their works with a melancholy and agony as a reaction to the colonization reinforced on the island in the pretense of modernization. “Chapter III: In Pursuit of the Native Land” recounts the relationship between the personal contact of the artist with the painters of the native land and his paintings. The works introduced in this section is divided into portrait, landscape, and still-life, in terms of subject; oil painting and intaglio painting, in terms of material. An analysis of the artistic performance of the painters which they refer to and the re-emphasis of sincerity in the process of creation are also included. “Chapter IV: Conclusion and Prospect” inquires into how one should cultivate feelings before plunging himself/herself into style and vocabulary. The inquiry is based on the observation that the mind, as the determinant in shaping a unique artist, cannot be brought to perpetuation through study and diligence as techniques can. The artist as the writer of this essay also expresses the expectation of engaging himself in art continuously and broadening his scope of cultural absorption.