臺灣當代藝術中的身體暴力表現 (1980-2020)

近年來，「暴力」一直是成為全世界的重要關鍵字之一。暴力不僅出現在人們日常生活的霸凌、鬥毆、抗爭，也會在國際間出現更大型的暴力行動，如恐怖攻擊、戰爭等等。當藝術作為一種社會與現實世界的反映時，自古至今，不斷有各種暴力相關題材的作品面世，過去這些題材被包裝在神話、聖經故事、書籍插畫、戰爭畫、雕刻、攝影等等不同的藝術形式之中，在進入當代之後，暴力也不斷出現在其他純藝術之外的領域，如電影、戲劇、漫畫、動畫、電玩等等。這些作品往往連結著人類的道德、政治、歷史、生死等觀念，而藉由了解臺灣當代藝術中如何呈現暴力的形式，將有助於理解當代藝術與早期藝術史的承接關係。　　儘管在西方藝術史或中國當代藝術中都已經有了與暴力相關的主題研究，臺灣藝術史中對於藝術與暴力之間的相關研究卻仍然付之闕如。在臺灣藝術史中，這些研究散落在國家主體性、女性主義、風景繪畫等等不同的子題中，至今並未有一個較為完整的論述出現。　　為了試圖釐清臺灣當代藝術與過去臺灣藝術史中暴力表現形式的承接關係，本研究以西洋美術史作為參照，首先將暴力的相關作品與理論中，統整出「快感」與「痛感」這兩種常見的暴力表現形式，接著梳理臺灣自1980年以前的暴力相關視覺材料，包括早期原住民的藝術創作、荷西時期的銅版畫、日治時期的聖戰美術、民俗信仰中地獄圖的暴力敘事、二次戰後的寫實木刻版畫，再到解嚴前的社會寫實電影中的較為廣泛的暴力表現形式等等，作為進入當代之前的統整研究。而在1980年之後的當代藝術中，本論文將主題逐漸聚焦於身體暴力的表現形式，參照電影、電視對於暴力程度的分類，作為判別作品中是否呈現暴力的依據。藉由早期藝術史與當代藝術史之間的圖像研究，分析這些過去曾出現的暴力表現方式與題材如何被後來的當代藝術家所延續、發展。　　本研究發現，在歸納臺灣當代藝術中身體暴力表現形式時，若以解嚴時期作為界線，似乎隱然有一種世代間的差異。解嚴前出生的藝術家偏向於運用強烈的身體暴力表現，來提出對於政治、社會的批判；而解嚴後的藝術家則偏向較為軟性的訴求，使得身體暴力更難出現在年輕藝術家的創作之中。以圖像的形式來說，身體暴力的表現經常帶有策略性，而透過西洋藝術史或是東方藝術史中的經典圖像來傳達時，則更容易被觀眾所認同，進而達到宣傳藝術家理念的目的。

關鍵字

臺灣美術史；暴力；身體暴力；臺灣當代藝術；痛感；快感

並列摘要

“Violence” has become one of the most important keywords in the world recently. Violence not only happens in bullying, brawls or protests in people’s everyday life, but also appears in actions of larger scale such as terrorist attacks, wars and others around the world. While art is regarded as a reflection of the society and reality, works related to various types of violence have been created unceasingly since long ago. Violence used to be wrapped in mythology, biblical stories, illustrations, war paintings, sculptures, photographies and other artistic forms in the past. In the contemporary era, it also appears in categories other than fine art, such as the movies, the theater, comic books, animations, and video games, etc.. The pieces often relate to the human ideas about morality, politics, history, or life and death. The investigation of how violence is presented in Taiwan’s contemporary art will help the understanding of how the heritage has been passed on from the earlier art history to contemporary art. Despite there are violence-related studies in the Western Art History as well as Chinese Contemporary Art, research on the relationship between art and violence in Taiwan’s art history is still wanting. In Taiwan’s art history, violence has been discussed along with various subjects such as national identity, feminism, landscape and others, but without having a thorough treatise on its own until now. In order to clarify how the expression of violence has been passed on from Taiwan’s earlier art history to the contemporary, this thesis firstly refers Western art history to identify two types of common expression of violence, “pleasure” and “pain,” in related artworks and theories. Violence-related visual materials dating before 1980 in Taiwan are then combed through, as the preceding research of the contemporary. These visual materials include early indigenous art, etchings from the Spanish and Dutch colonial periods, art of “The Holly War” from the Japanese colonial period, violent depictions of the hell in folk beliefs, woodcut after World War II, and the more widespread forms of violent expression in social realistic movies during the martial law period. For contemporary art after 1980, the research focuses on the expression of physical violence. Whether an artwork contains violence is determined in accordance with the classification for films and television programs. By applying iconology, how expressions and subject matters of violence from the earlier art history have been received and further developed by contemporary artists is analyzed. When classifying the forms of expressing physical violence in Taiwan’s contemporary art, this research reveals that there seems to be a hidden difference between generations before and after the lifting of martial law. Artists born prior to the lifting of martial law tends to question the politics and society with intense physical violence in their works, while those born after it favor more modest approaches. Physical violence is thus less seen in works by younger artists. In terms of iconological forms, the expression of physical violence is often strategical. Moreover, it is often better received by the audience when adapting well-known images from the Western or Oriental art history, and thus achieving the goal of propagating the artist’s idea.