1945年台灣省行政長官陳儀提議興建「蔣公銅像」、1946年蒲添生製作「蔣介石戎裝銅像」,此階段郎靜山攝影呼應官方意識形態的文藝作品;然而,文化非單一毫無縫隙,1964年李石樵以〈大將軍〉的鬼魅圖像反諷主導官方意識形態。銅像文學的發展上,本文探究其逆寫威權如何透過諷諭、比喻與反諷的「重看」(revisioning)銅像,並創造三種逆寫路徑:一、直指蔣介石的政治責任。直接批判銅像與肖像為恐懼與監視的象徵,恐懼則來自於鎮壓與監控。二,以世俗化解構銅像的神聖性。如將蔣介石肖像與貨幣、商品、蟲蝕、排泄並置,影射符號後的世俗利益、骯髒汙穢、殘破毀損,並藉此手法書寫蔣介石肖像世俗化。其三,以幽默、諧擬、嘲諷之手法書寫銅像與最高領導者,包含以鬼怪方式將銅像妖怪化、鬼魅化;以金門酒國的建立反諷蔣介石在現實與歷史的進退失據。本文指出蔣介石銅/肖像文學從神性、權威、俗性轉向鬼怪、怪誕、諧擬的多重逆寫路徑。
In 1945, the Chief Executive of Taiwan Province, Chen Yi, proposed the construction of "Statue of Chiang Kai-shek." In 1946, Pu Tian-sheng produced "Statue of Chiang Kai-shek in military uniform." Lang Jing-shan's works echo the official ideology. However, Li Shi-qiao created ghost image of "The Great General" against the dominant ideology. This article examines the development of Chiang Kai-shek's statue literature, and discusses three ways of writing back: first, directly pointing to Chiang Kai-shek's political responsibility. In this case, statues and portraits are symbols of fear and surveillance. Secondly, works deconstruct the sacredness of statues with secularization. For example, the portrait of Chiang Kai-shek is juxtaposed with currency, commodities, insect erosion, and excretion. The third is to write the statues and the leaders with humor, parody, and mockery. This article explores the multiple paths of Chiang Kai-shek's statue /portrait literature from divinity, authority, and vulgarity to grotesques, and parody.