百合的解放與憐憫-張君瑜繪畫創作論述

百合圖像在歷史上被賦予許多宗教意涵，泛基督信仰上將其代指貞節與神聖與無私，在中古歐洲時成為皇室的符碼「法國百合紋飾」(fleur-de-lys)，成為唯有神祇、聖者、貴族才能享有殊榮。然而，在分布於地中海周圍的古文明時期，百合僅僅是一種常見的裝飾，並無跟社會制度有關的意涵，在創世神話與希臘羅馬中也僅是眼淚與乳汁的代表。身為基督徒的筆者熱愛百合花，在考究百合花藝術歷史時發現到當人們歌頌百合所代表的宗教意涵「持守貞潔」、「聖潔」與「尊貴」，高舉這些美德時可能會造成他者壓迫。因此開始逐一去尋找受壓迫與難過的人，因此筆者邀請了性暴力倖存者、憂鬱症者、未婚懷孕者、婚內失戀者、性少數等諸多失意的人，傾聽他們的心聲後承接他們情緒，再著手進行創作。本次創作計畫從創作背景與動機釐清創作目的，經由學理基礎的蒐集與歸納，再與他人對談後整理思緒，進而從事創作的發想與實驗。用兩大系列「外在的制度壓迫」與「內在的情感負荷」與其各三個子系列闡明創作理念與表現方法。創作媒材以油彩與壓克力繪畫為主，搭配其他媒材增加作品豐富性，並解釋技巧的應用，最後展現作品成果。由於訪談對象皆有難以與他人言喻的痛苦，透過筆者的作品展示，能讓更多人有機會了解他們的感受與處境，使他者心生憐憫後才有機會改變他們的處境，從而達到成為訪談對象的慰藉與解放其承受的壓迫的目的。

關鍵字

百合；解放；憐憫

並列摘要

The image of lilies has been given many religious meanings in history. In Pan-Christian faith, it was referred to as chastity, sacredness, and selflessness. In medieval Europe, it became the symbol of the royal family, fleur-de-lys (flower-of-lilies), and only god, saints, nobles could be honored with it. However, during ancient eras around the Mediterranean Sea, the lily was only a common decoration and there was no meaning associated with the social system. It was only representative of tears and milk in the myth of creation and in Greece and Rome. As a Christian, the author loves the lilies. When she studies the history of lily art, she discovers that when people sing about the religious meaning represented by Lily, they are “holding virginity”, “holy” and “honor”, and when they hold these virtues high, they may induce the others oppressed. So I began to look for people who were oppressed and sad one by one. I invited survivors of sexual violence, melancholia, unmarried pregnancies, unmarried couples, sexual minorities, and many other frustrated people to listen to their voices, accept their emotions, and then proceed to create. This creation proposal clarifies the purpose of creation from the background and motive of the creation, collects and summarizes through the basics of the theory, then organizes thoughts after talking with other people, and then engages in the development of thoughts and experiments. Two major series of "external institutional oppression" and "inherent emotional load" and their three sub-series illustrate the creative ideas and methods of expression. Creation media is mainly based on oil paints and acrylic paintings. It is complemented with other media to increase the richness of the works and explain the application of skills. Finally, the work results are displayed. Since the interviewees all have difficulties in speaking with others, through the author's demonstration, more people can have an opportunity to understand their feelings and situation, so that the others can have the opportunity to change their situation, so as to achieve the solace of the interviewees and the purpose of liberating the oppression they suffered.