李仲生與20世紀(jì)60年代臺(tái)灣現(xiàn)代藝術(shù)研究綜述

1、李仲生與20世紀(jì)60年代臺(tái)灣現(xiàn)代藝術(shù)研究綜述一60年代臺(tái)灣現(xiàn)代藝術(shù)的思想根源臺(tái)灣現(xiàn)代藝術(shù)與日本現(xiàn)代主義進(jìn)程的有不可分割的聯(lián)系。作為日本的殖民地，在臺(tái)灣本島曾經(jīng)正式地引進(jìn)前衛(wèi)美術(shù)，一般認(rèn)為是它始于1931年來(lái)臺(tái)展出的日本“獨(dú)立美術(shù)展”。此后，臺(tái)灣現(xiàn)代藝術(shù)發(fā)展的重要人物即是從大陸赴臺(tái)灣的李仲生。李仲生在日本期間(1932-1937)，加入“東京前衛(wèi)美術(shù)研究所”、“二科會(huì)”、“黑色洋畫會(huì)”等前衛(wèi)繪畫組織。他到臺(tái)灣初期，臺(tái)灣藝壇仍普遍彌漫保守謹(jǐn)慎的氣氛。他主張超現(xiàn)實(shí)主義“不依靠寫實(shí)”，以“悖乎普通的畫理”，“特意的表現(xiàn)”，來(lái)排斥一貫的“固定底觀念與習(xí)慣”，并“暴露人理性的斷面”。由此可知，李仲生傾向日

2、本超現(xiàn)實(shí)主義中的“主知”成份。但是，如果說(shuō)臺(tái)灣60年代的現(xiàn)代藝術(shù)建立在日本藝術(shù)的思想根源之上是不完整的，應(yīng)該看到臺(tái)灣局勢(shì)的改變對(duì)藝術(shù)思潮的影響作用。臺(tái)灣于1945年結(jié)束了日本的殖民統(tǒng)治。50年代末期，在美國(guó)軍事經(jīng)濟(jì)各方面的支持下，西方文化亦大舉注入臺(tái)灣社會(huì)，使之深受西方歐美思潮沖擊席卷，現(xiàn)代藝術(shù)講究自由、創(chuàng)新的概念，進(jìn)而促成了60 年代臺(tái)灣全面性的現(xiàn)代繪畫運(yùn)動(dòng)熱潮，這主要受到了美國(guó)“抽象表現(xiàn)主義”與歐洲“不定形繪畫”的影響，強(qiáng)調(diào)一種“形象的解放”。在60年代臺(tái)灣現(xiàn)代主義藝術(shù)的舞臺(tái)上活躍著兩種主要思潮，即日本的超現(xiàn)實(shí)主義和美國(guó)的抽象表現(xiàn)主義。此時(shí)的臺(tái)灣已經(jīng)有了一種“美國(guó)化”的思想偏向。特別是在戰(zhàn)

3、后的一代人，更急于從西方文化中尋求自救的出路，效仿歐美成為了走向現(xiàn)代化的共識(shí)。二李仲生與臺(tái)灣現(xiàn)代主義藝術(shù)的傳播臺(tái)灣現(xiàn)代美術(shù)是由西方移植過(guò)來(lái)的，在缺乏特定的社會(huì)文化、歷史背景的情況下，對(duì)于傳統(tǒng)藝術(shù)家和一般大眾而言，要了解接受這種新的藝術(shù)表現(xiàn)形式是非常困難的；作為有現(xiàn)代藝術(shù)思想的藝術(shù)家們只依賴作品來(lái)說(shuō)服觀眾是不足的，需要肩負(fù)起理論的建設(shè)與觀念的宣揚(yáng)重任。李仲生是臺(tái)灣堅(jiān)持走現(xiàn)代主義道路的代表人物，他不但進(jìn)行前衛(wèi)繪畫的創(chuàng)作，在藝術(shù)理論方面的造詣也是卓著的。李仲生在1950年到1955年間連續(xù)在讀者群廣大的報(bào)章刊物發(fā)表了許多介紹西方現(xiàn)代畫派的文字，例如聯(lián)合報(bào)、新生報(bào)、新藝術(shù)、文藝月報(bào)、文藝春秋等刊物，從

4、其介紹超現(xiàn)實(shí)主義繪畫的文章，以及多篇介紹日本前衛(wèi)畫派的文章，可見李仲生亟欲改變臺(tái)灣畫壇當(dāng)時(shí)的保守心態(tài)。來(lái)臺(tái)灣后，他一直十分關(guān)注與閱讀西方最新藝術(shù)信息的報(bào)章雜志和書籍，注意世界美術(shù)思潮的發(fā)展和變遷等淵源關(guān)系，并對(duì)任何新誕生的作風(fēng)都詳加研究。當(dāng)時(shí)，另有兩本重要的藝術(shù)雜志宣傳現(xiàn)代主義理論，即筆匯雜志和文星雜志。筆匯雜志介紹新觀念，新資訊，以啟發(fā)人們開拓新的藝術(shù)思想境界，有計(jì)劃有系統(tǒng)地介紹現(xiàn)代藝術(shù)畫派，對(duì)臺(tái)灣美術(shù)現(xiàn)代化，提供了深度和廣度，開闊了思想的視野。文星雜志一系列聳動(dòng)的現(xiàn)代化文章，使得言論沖擊人心，其影響程度在臺(tái)灣一度成為整個(gè)現(xiàn)代化文化運(yùn)動(dòng)的新銳言論的大本營(yíng)。60年代臺(tái)灣現(xiàn)代主義藝術(shù)創(chuàng)作達(dá)到頂峰

5、時(shí)，現(xiàn)代藝術(shù)的理論支撐也發(fā)展到了一個(gè)新水平。理論上的啟發(fā)，使現(xiàn)代主義在更大的范圍內(nèi)進(jìn)行傳播，60年代“現(xiàn)代潮”正是在創(chuàng)作、理論的雙重作用下得以實(shí)現(xiàn)的。三臺(tái)灣現(xiàn)代藝術(shù)社團(tuán)運(yùn)動(dòng)評(píng)述60年代的臺(tái)灣藝壇以鼓吹西方思想為時(shí)尚，在抽象表現(xiàn)主義、存在主義等西方思潮席卷下，極力排斥寫實(shí)主義。大陸來(lái)臺(tái)的一批青年畫家和他們組織的兩個(gè)畫會(huì)“五月畫會(huì)”和“東方畫會(huì)”掀起了臺(tái)灣現(xiàn)代主義繪畫運(yùn)動(dòng)。“東方畫會(huì)”的第一批成員是歐陽(yáng)文苑、蕭勤、霍剛、吳昊、夏陽(yáng)、蕭明賢、李元佳、陳道明，他們都為李仲生的學(xué)生。李仲生在教學(xué)中重視學(xué)生個(gè)性的發(fā)展，重視創(chuàng)作的內(nèi)涵與精神性，強(qiáng)調(diào)現(xiàn)代藝術(shù)觀念等。這些成為了“東方畫會(huì)”成立的精神基礎(chǔ)。東方畫

6、會(huì)認(rèn)為“我國(guó)傳統(tǒng)的繪畫觀，與現(xiàn)代世界性的繪畫觀在根本上完全一致，惟于表現(xiàn)的形式上稍有差異，如能使現(xiàn)代繪畫在我國(guó)普遍發(fā)展，則中國(guó)的無(wú)限藝術(shù)寶藏，必將在今日世界潮流中以嶄新的姿態(tài)出現(xiàn)”。所以創(chuàng)造新的形式，乃是必要的時(shí)代任務(wù)。但是在創(chuàng)新手段上，他們保留了以往中國(guó)哲學(xué)的意識(shí)型態(tài)，同時(shí)對(duì)傳統(tǒng)中國(guó)繪畫形式進(jìn)行了顛覆。“五月畫會(huì)”的主將是劉國(guó)松和莊喆。作為傳統(tǒng)水墨的捍衛(wèi)者，劉國(guó)松曾在20世紀(jì)50年代激烈反對(duì)“日本畫”，以保持國(guó)畫的純粹性。但是，在60年代他改變了徹底否定日本畫的立場(chǎng)，認(rèn)為日本畫是改良國(guó)畫的一種方式。這標(biāo)志著現(xiàn)代主義思潮完全取代了原有的“國(guó)粹”思想。前衛(wèi)社團(tuán)在吸收西方藝術(shù)思潮的同時(shí)，也沒有完全

7、拋棄對(duì)中國(guó)傳統(tǒng)繪畫出路的思考，都以各自的形式對(duì)“國(guó)粹”進(jìn)行取舍，進(jìn)行著藝術(shù)創(chuàng)作的新探索。60年代臺(tái)灣美術(shù)的“現(xiàn)代潮”中，藝術(shù)青年們展現(xiàn)了改革的意識(shí)與勇氣，以及求知的熱忱與理想，并且在文化層面進(jìn)行了傳統(tǒng)、現(xiàn)代、東方、西方關(guān)系的再思考。在面對(duì)當(dāng)下全球化藝術(shù)思潮的快速流動(dòng)狀態(tài)中，必能帶給我們更深刻的文化省思與啟發(fā)。qcwa3ptgz7r4i30ka1dkaghn3xtkknbycudxqa7fhyi2chhi92tgkqcwa3ptgshls50clmtwn60eo8wgqv7xav2ohum32wgeauwydiawgmer4i30ka1dkaghn3xtkknbycudxqa7fhyi2chhi

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