共構荒謬與和諧的烏托邦畫境－吳瓊娟水墨創作探究

Abstract

西方的體系帶來高科技等成就，有利於人類的快速發展，發展相伴的是今天環境汙染、生態失衡的負面問題，臭氧層破洞、溫室效應提升，污染問題日益嚴重，使得人類警覺生活品質的日益惡化與大自然的反擊力量的可怕。這無不顯現出人與社會、人與自然、人與人和諧關係的失衡狀態。 近幾年來台灣的生態危機中，土地過度開發使用，坡地濫墾、濫建、不當使用土石流危險區，使生態環境遭受不當變動及破壞。這樣層出不窮的社會問題、生態環境問題，快速的曝露在生活中，產生的危機，生態破壞，人心的物化、精神的異化、疏離、價值觀、倫常的失序，形成一種荒謬的世界。「荒謬」展示的就是這種「不滿科技的宰制與扭曲的人性」的情境，是一個世界的不合理與人所追求的合理性的衝突。以「荒謬」所提供的人生觀與生活態度展開生存處境的自覺意識，於是產生一種自我價值的生命意義，出現一種回歸反思現象，激勵觀眾去追求真正有意義的人生。荒謬起源於人生，而藝術不能脫離人生，因此，藝術中自然也反映了荒謬的成分。 所以本研究筆者透過水墨藝術創作加入藝術的救贖功能的期待，用嘲諷方式，將期待轉化為一種激發人性的烏托邦設想，訴諸符號形式揭露時代共同境遇與共同的理解，引起觀者共鳴與啟示，表達筆者當下的體會及未知的期待，並且嘗試挑戰媒材與形式的創新性，希望藉著創作過程去發現潛藏在生活中諸多現象中的原型，透過圖像投射出自己的潛意識，並能顯現生命智慧及提醒我們對於生態關懷的人文思考；使藝術創作的精神由「人性物化」的體悟中得到反思與共鳴，提升人的生存情境，讓繪畫創作形式呈現一種重要的價值。

Although cutting-edge technology from Western land has boosted development of human society greatly, some negative problems have also followed the way, such as environmental pollution, unbalanced ecology system, the destroyed ozone hole, the acceleration of green house effect etc. These serious problems are alerting humankind about the drop of living quality as well as the fighting-back of the mighty nature. All of these are indicating the unbalanced relationship between human and the society, human and the nature, and humankind themselves.

In recent years, ecological crisis in Taiwan includes over-using/building on lands/mountain slopes, improper-using on mudflows-alerting area etc., which are destroying the ecological system seriously. These social/ecological/environmental problems are emerging in an endless stream, which contributed to other issues like: materialization and alienation of people’s mind, isolation, disorder of values and ethic. The world has become ridiculous gradually.

The piece ‘Ridiculous’ is trying to show the condition of ‘unsatisfied with technological control and distorted humanity’. It unveils the conflict between irrational states in the world and humankind’s pursuit of rational condition. Living philosophy and attitude shown by ‘Ridiculous’ unveils our consciousness toward the living surroundings; kind of meaning of lives for self-value is created; the emerging self-reviewing phenomenon stimulates the audience to pursue real lives. ‘Ridiculous’ originated from lives, yet arts cannot be separated from lives. Therefore, arts also reflect ‘ridiculous’ spontaneously.

Using Chinese landscape painting practice and importing the expectation of atoning function of arts, this research is trying to transform the expectation to a Utopian perspective, which could stimulate the humanity; it would uncover people’s mutual experiences/perception in the time by symbols in order to arouse echoes and inspirations from the audience. This paper is showing the researcher’s experience at the moment and unknown expectation. The researcher also tried to challenge the innovation of materials and forms; she hopes to discover more potential prototypes in daily lives by practice, projecting self-consciousness by images. Moreover, the works transmits wits and reminds us the importance of humanity thinking toward ecological system. Furthermore, the artistic practice would be infused some echoes and feedback from the experience of ‘humanity materialization’; the living condition would be promoted and display the important value of the painting form.