研討會論文

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會

略論現代水墨畫的當代化脈絡

A Brief Study of the Contemporary Context of modern Ink Painting

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會論文集

論文

2022/02

第71-89頁

戰後的東亞地區受國際藝術潮流影響，對筆墨在美術史傳統形態的認知，轉變為以水墨實踐做出新的詮釋；在水墨畫的生態變遷中，跨越1950年代原本由台灣內部發起傳統與現代的角力，經過1990年代兩岸政治情勢的鬆動與國際間藝術經濟的蓬勃，逐漸在兩岸，乃至亞洲演變為現代水墨與當代水墨的糾葛。

近二十年間，在藝術社會的傳播與接受的交互作用下，對水墨畫內容與形式的解釋，從原本以華文圈為主的傳播途徑，擴大轉譯為英、日、韓等的不同語言的認知，使得「當代水墨」一詞在國際藝術品交易市場，儼然形成一股水墨創作的主流聲量，彷彿取代現代水墨成為水墨畫新的進程。

然而，戰後水墨畫創作從社會化到商品化的過程裡，現代水墨與當代水墨並非此消彼長，具有先後接序的關聯性。因而，從藝術傳播到接受的立場，我們發現兩者的屬性、內容在語意上的關聯，因地緣及語言的區隔造成接受方面的差異。在藝術中介與消費的機制運作中，就地緣文化的語境差異，梳理日、韓文與漢語的脈絡，發掘兩者在論述出現的諸多語意表述的歧義。

現代水墨或當代水墨的語義內容，透過藝術品市場的各種涉及藝術商品化的傳譯，最終可以歸結到中文/漢語體系的原初語境；從現代水墨創作本質變異的發生，到當代水墨視覺形式種種歧義的當下，可看到彼此在不同語境裡的糾纏。兩者的思辨更傾向從文字表述的語意，與地緣關係相近的文化語境的認知入手，以便於有層次地分析此兩者的關聯程度。本文雖以現代水墨為名，然其目的實則為尋求當代水墨畫的成因與延伸途徑進行系統探索。

Under the influence of international art trend, the cognition of the use of brush and ink in the traditional form of fine arts history in post-war East Asia has transformed into the new interpretation about the ink art practice. The ecological changes of ink painting have evolved from the competition between tradition and modernity inside Taiwan in the 1950s, the eased political situation across the strait and the worldwide prosperity of art and economy in the 1990s, gradually to the complication between modern ink painting and contemporary ink painting in both sides of the strait and even Asia.
In the latest twenty years, under the mutual influence of the communication and reception in the art society, the interpretation of the content and form of ink painting has expanded from the Chinese circle as the major communication path to the translation and cognition of the different languages such as English, Japanese, and Korean. Therefore, the term “contemporary ink painting” has formed a mainstream of ink art creation in the trading market of international artworks as if replacing modern ink painting and becoming the new progress of ink painting.

However, in the process from socialization to commercialization of post-war ink painting creation, there is not a clear sequence and connection between contemporary ink painting and modern ink painting indicating that the former rises just after the latter falls. Therefore, from the viewpoint of art communication and reception, we’ve found the connection of their attributes and contents in terms of the meaning of language and the difference of reception as a result of the geographic and language separation. In the mechanism operation of art media and consumption, the language contexts of the different geographic culture in the contexts of Japanese, Korean, and Chinese are organized to find many differences of the language meanings appearing in the discourses.

Through the various interpretations related to art commercialization in the art market, the semantic contents of modern ink painting and contemporary ink painting can be concluded with the original language context of the Chinese/Mandarin system. From the essential changes of modern ink creation to the various different visual forms of contemporary ink painting, the complication in the different language contexts can be found. The deliberation of the two tends to start from the literary meanings and the cultural contexts close to the geographic relations to analyze the extent of their connection on the different levels. Despite the title of “modern ink painting,” the paper aims to seek the cause and extension of contemporary ink painting and make the systematic explorations.

國立國父紀念館

臺北市

ISBN:978-986-532-559-6(平裝)
GPN:1011100213