追尋時代激盪中的自我：戰後畫家劉耿一與台灣意識的興起

Searching for Self in Changing Times: Liu Keng-i and the Rising of the Taiwanese Identity in the Post-war Period

張閔俞(Min-Yu Chang)

指導教授 ： 顏娟英

國立臺灣大學/文學院/藝術史研究所/碩士(2017年)

https://doi.org/10.6342/NTU201703008

摘要

高雄畫家劉耿一（1938-）為前輩畫家劉啓祥（1910-1998）的長子，是本土第二代畫家中較重要的一位。他的繪畫風格奠定於八○年代，正值解嚴前後台灣意識高漲之時刻，其創作主題因而深受社會變動影響。晚期的創作更逐漸趨向身份與歸屬的探究，呼應當代有關台灣主體性及國家定位議題，並對台灣畫壇的走向提出強烈質疑，值得學界反思與討論。
相較於過往研究多聚焦畫家本身的藝術風格，本文嘗試從政治、社會史的角度切入，搭配訪談取得之一手資料，重新檢視劉耿一的藝術內涵，同時以個案研究方式補充戰後藝術家與畫壇間的互動關係。研究發現，劉耿一的畫業之所以起飛與雄獅畫廊負責人李賢文（1947-）的支援緊密相關，第二任妻子曾雅雲（1948-）的經濟支持及藝術專業知識更是其中關鍵。而其畫風逐漸朝向社會性及文化傳承角度，既反映當時代的集體意識，也透露個人內心對戰後畫壇流行之中國現代水墨畫或當代藝術求新風氣的反抗意識。
最後，筆者對畫家晚年旅居紐西蘭十五年間的創作進行分期，指出其與西方畫家佛烈德利赫（Caspar David Friedrich, 1774-1840）及葛雷柯（El Greco, 1541-1614）的關係，強調其藝術特質除了社會現實層面外，也具有強烈的理想及信仰成份。同時，從劉耿一旅居紐西蘭的決定可知，其台灣意識並非根深蒂固、不可撼動之理想，而無疑是一種隨情境而動的念頭，具有保存自我的強烈目的。

關鍵字

劉耿一 ； 台灣意識/認同 ； 文化傳承 ； 群像畫 ； 自畫像

並列摘要

Liu Keng-i(1938-) , the son of Liu Chi-Hsiang(1910-1998) who is thought a leading painter after second world war, is an important artist who grew up in Kaohsiung. His painting style developed in 1980s, just before or at the time of the lifting of martial law, and this made the topics of his works obviously influenced by the social movements and the rising of Taiwanese consciousness. Later, he became more concerned about searching for self-identity, which related to the issue of subjectivity and national orientation in Taiwan. Also, he expressed strong doubt about the trend of Taiwan art circles. All of this is inspiring to researchers nowadays.
The method of this article focus on the politic and social part of history, and the first-hand sources from Liu Keng-i are also the point. Therefore, we will not only discuss the meaning or style of his art, but also the interaction between painter and the Taiwan artist circle after WWII. Accordingly, the study find that Liu Keng-i’s success helped mainly by two persons at first, his wife Tseng Ya-Yun(1948-), and the owner of Lionart Gallery, Li Xian-wen(1947-). Furthermore, his topics turned to social criticism and cultural continuity, which reflecting the collective consciousness and his own mind against the trend of pursuing new style at that time.
In the end, the article tried to stage Liu Keng-i’s works created in New Zealand for fifteen years. It is notable that he learned from two famous western artist, Caspar David Friedrich(1774-1840) and El Greco(1541-1614), which means that he also have a desire for ideal and faithful character. All in all, after he moving to New Zealand, we can say that his Taiwanese identity is not a firm belief, but a changing will following the environment and his pursuit of freedom.

並列關鍵字

Liu Keng-i ； Taiwanese consciousness/identity ； cultural continuity ； group portrait ； self-portrait

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