臺灣美術史學正典形構問題： 以戰後初期（1945-1949）左翼木刻版畫為例

The Problematics of Canon Formation in Taiwanese Art History: A Case Study of Left-Wing Woodcuts During the Early Post-War Period （1945-1949）

江婉綾(Wan-Ling Chiang)

指導教授 ： 楊永源

國立臺灣師範大學/藝術學院/美術學系/碩士(2012年)

摘要

本文以「正典形構」為主題，「左翼木刻」為案例，研究核心指向台灣美術史的學科建制（disciplinarity），採用論述分析法，從方法論的視角進行議題探勘。在研究設計上，第一步由概念界定的工作出發，參酌文學與西洋美術史學的研究發展，釐清「正典」的詞義、源流與運用方式，以供檢驗本土的正典形構現象。第二，將正典視為一項理論工具，比較「正典」與「典範」（paragidm）等相關概念之異同，調查目前台灣藝術學界如何處理正典問題。第三，從通論性著作與教科書內容確認木刻版畫的正典性，蒐集木刻版畫相關文獻，以木刻版畫為例，探索知名藝術作品的歷史評價從何而來。

木刻版畫常被定位為「時代見證者」，唯其在台活動的歷程與作品發表情形尚未全然廓清。木刻版畫寫入臺灣美術史一頁，其正典性乃論者有意建構，此間涉及文化資本分配與權力運作，而非歷史之必然。本文以戰後初期台灣左翼木刻版畫入史的過程為例，探討作品如何透過論述中介，最後成為廣受重視的作品，進而反思西洋藝術史論之於在地事例的實踐效果。臺灣美術史發展出正典形構現象，除了代表其學科身份之確立，亦意味已累積足夠的研究成果可供檢驗。如何運用新方法與觀點重探歷史定論，將是未來的新課題，令正典作品具有研究方法的實驗潛能。

關鍵字

正典 ； 典律 ； 典範 ； 藝術史 ； 臺灣美術史 ； 方法論 ； 左翼木刻版畫

並列摘要

This thesis is focus on the disciplinarity in Taiwanese art history. I choose the “canon formation” as the subject, and take the “left-wing woodcuts” as a case. Using the method of discourse analysis, I try to set my study on the methodology dimension. First, I will define the core concepts, especially the meanings, origins, and uses of the word “Canon”. When studying the problematics of canon formation in Taiwanese art history, the develop processes of literary history and Western art history would be good references. Second, the concept Canon should be seen as a theorical intrument. Through comparing different concepts─Canon and Paradigm, and investing researchers how to apply these terms, we can trace the develop paces of canon issue in Taiwan. Third, in order to realize canonicity of the left-wing woodcuts in Taiwan, reviewing previous literatures is necessary. This thesis surveys the statements about left-wing woodcuts in general readings and text books. In this way, we can examine the historical reputations of art works, and figure out the effects of canon formation.

The left-wing woodcuts are usually seen as “time witnesses” by many critics, but up to now, we know nothing more than that. Researchers still need lots of information to recover the woodcut-artisits’ tracks and their communicate channels. We shouldn’t take their historical orientation for grant. The left-wing woodcuts becoming the famous works in the Taiwan’s history of art is due to the discursive construction. This is the result of the cultural capital distributions and power operatations. During studying progress, this case mades me rethink the practical effects of weastern art theory applied in local condition. The phenomenon of canon formation in Taiwan means not only Taiwanese art history gets its discipline status, but also tells that academic achievements is rich enough to be re-evaluated. Introducing new methods and view points to recheck the historical discourses will be an important lesson. From this perspective, canonical art works may be a new experiment subject of methodology in the future.

並列關鍵字

canon ； paradigm ； Art History ； Taiwanese Art History ； methodology ； left-wing woodcuts

參考文獻

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