以突現理論探討台灣水墨畫發展的哲學詮釋

A Discussion on the Philosophical Interpretation of the Development of Ink Painting in Taiwan upon Emergence Theory

10.7074/YDAJB.201203.0051

陳慶坤(Ching-Kuen Chen)

傳統與創新 ； 當代水墨畫 ； 突現理論 ； 本土意識 ； tradition and innovation ； contemporary ink painting ； emergence theory ； local consciousness

育達科大學報

30期（2012 / 03 / 01）

51 - 74

繁體中文

回顧二十世紀台灣水墨畫的發展，充分顯示殖民性格的特質，殆無疑義。只是，不論50年代的傳統與創新之爭，或是70年代本土意識的鄉土文化論述，大致上乃是圍繞著水墨畫發展何去何從的爭執，同時也展現台灣水墨畫創作的蓬勃生命力，更揭露了水墨畫在台灣發展中逐漸形塑本土意識的「突現性」問題。所謂突現就是不斷的驅策複雜的系統自我組織成各種樣板的驅動力。依此而言，台灣水墨畫的發展因為政治、社會結構、歷史的更迭而產生相較於其他地區更為複雜的結構，致使它的形成不僅只是水墨畫創作思考的問題，更在這一過程中驅動著台灣美術的突現性。本文試圖從這一時期台灣美術發展所衍生尖銳對立的議題之論述，以「突現理論」探究灣水墨畫的發展並爬梳出不同的詮釋面相。

A characteristics of colonization is fully shown in the ink painting in Taiwan without a question while looking back its development in the 20th Century, however, no matter a dispute between tradition and innovation in the 1950s, or, a discussion on local culture upon local consciousness in the 1970s, are roughly surrounded by a dispute on the direction of ink painting development and in the meantime, unfolded the prosperous vitality of ink painting creation in Taiwan and even disclosed the ”emergence” issue of local consciousness which gradually forms during the development of ink painting in Taiwan. The so-called emergence is a driving force which incessantly urges complicated system on to self-organize into various templates. As far as it is concerned, the development of ink painting in Taiwan reports a more complex structure than other regions due to a change in politics, social structure and history, making it not only an issue about ink painting creation, but also an emergence that drives Taiwanese art during this process, in which the paper tries to explore the development of ink painting in Taiwan upon ”emergence theory” and to come out interpretations from various perspectives in terms of a discussion on the opposing issues derived from Taiwanese arts development during this period of time.

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