農業社區彩繪壁畫圖像之研究：以桃園市蘆竹區坑口社區為例

摘要　　近年來台灣的彩繪社區興起，以不同圖像出現在農村社區中，也為沒落的農村社區帶動觀光人潮，變成拍照打卡的背景，但其中許多圖像卻不見得與社區文化無關。本研究即要探討：這些圖像存在於公共空間，除了帶動觀光人潮，與社區有何相關? 　壁畫藝術不論是敦煌壁畫、或歐洲的宗教壁畫，在美術史都佔一席之地，因此本研究主張此類農村彩繪壁畫本身也是藝術，並強調讀畫及圖像分析。本研究對桃園市蘆竹區的坑口社區進行實地考察，並攝影紀錄、觀察、分析社區內彩繪的圖像。並訪談坑口社區理事長，了解經過彩繪社區前後的改變。本研究發現社區壁畫有許多類別，例如：台灣早期農村景象、模仿西洋名畫等；此處我將加入台灣鄉土寫實繪畫及西洋藝術史相關的文獻回顧，分析這些圖像的意涵，以及這些圖像如何與社區原有文化產生連結。　　我的研究問題及發現如下：（一）、壁畫藝術的公共性為何？坑口社區壁畫並非公共法條下的政策，不算是　公共藝術，也並非透過藝術家主導，帶領社區居民以公共社會議題的藝術創作，所以也不是新類型公共藝術，只是公共空間裡的藝術。（二）、壁畫藝術進入坑口社區後影響為何？彩繪社區進入社區後帶動觀光人潮，也產生社區的微型經濟，居民在彩繪活動後進一步透過藝術與社區連結。（三）、坑口社區彩繪的圖像為何以及它們稱得上是藝術嗎？社區內畫有農村時期的水牛、婦女浣衣及台灣傳統廚房，與社區文化相連結，社區也畫有歐洲農村圖像、卡通圖像，卻與在地文化較無關聯及缺少原創性。關鍵字：壁畫、社區營造、彩繪社區、坑口社區、公共藝術

關鍵字

壁畫；社區營造；彩繪社區；坑口社區；公共藝術

並列摘要

Abstract Since the last decade, many wall paintings started to appear in the agricultural communities in Taiwan. Those wall paintings bring tourists to the communities, but the painted images do not seem to have direct relation with local culture. This thesis aims to explore how these paintings in the public space, except for bringing tourists and economy, relate to where they are located. Wall paintings, or murals, whether they are religious wall paintings in China or Europe, have an important role in Art History. Therefore, this study argues that those wall paintings in the agricultural communities are also art, and focuses on the visual analysis of them. I conducted a field survey in the Kengkou community in Luzhu District, Taoyuan City. I photographed, observed, and analyzed those wall paintings. I have also interviewed the director of the Kengkou community to understand the changes happening to the community before and after the wall paintings were finished. I found there are few ‘genres’ among those wall paintings, including landscape paintings of the past Taiwanese agricultural society and copies of famous European paintings. I will provide literature reviews here to help analyze those wall paintings. My research questions and findings are below: (1) What is the public nature of those murals? The community murals were not launched under any public policies, so they are not Public Art by definition. Nor were they led by artists, so they are not so-call New-type of Public Art. They are merely art in public space. (2) What are the impacts of those murals to the Kengkou community? The impacts include tourists and small scale economy, and that local residents know their community better after actually painting those walls. (3) What are the exact images of those wall paintings and are they art? These images include buffaloes, women doing laundry by the river, traditional Taiwanese kitchens and etc. They are related to the past of the community. Others include Japanese cartoons and famous European paintings: they have less to do with local culture and lack originality. Keywords：murals, wall paintings, community development, community with murals, Kengkou Community, Public Art