離散的美學：戰後台灣氣韻生動論述與創作的變遷 (I)
中文摘要
「氣韻」或「氣韻生動」是中國傳統繪畫與書畫理論的核心概念，甚至可以是中國繪畫美學的「終極」判準，各朝各代中的各種論說圍繞著這個觀念而發展、演繹開來，形成中國書畫理論體系。從中國美術史來看，它可以說是相當牢固的品藻標竿，其延續性格大致多於變革的企圖。然而，在十九世紀西方現代文化的衝擊之下，「氣韻」是否依然維持原有的意涵與形貌，或已然呈現鬆動的狀況，實有待進一步檢視。進而言之，氣韻的原真性(authenticity)在現代化的進程中，有了那些變樣與移位，又如何因著「離散」(diaspora)現象而調整其論述策略，是值得深探的議題。戰後兩岸分治，中國文化因而走上開枝散葉的道路。文化離散意味著：在文化的擴散、交錯、移動、衝撞中，所謂「美學原鄉」的內容逐漸被掏空、移轉，取而代之的是新的詮釋內涵，雖然保留著原先的形式「空殼」。此一探索有助於釐清台灣美術中中華文化因素在傳統、本土與現代的角色與機制運作。 戰後兩岸現代美術游移在傳統與現代、東方與西方之間，有著激烈的路線辯論。劉國松是這段藝術變遷的典型，除了藝術上的獨特風格與成就，一九六零年代劉國松的藝術論述觸及了上述論爭中的許多面向。他強調新傳統，反對舊傳統與偽傳統，也不贊成全盤西化；創作上他提倡抽象畫乃中西繪畫之合流所在。在破與立之間，似乎仍然秉持著「氣韻」的大纛來正當化其論述的理路。他如何建立一個新的氣韻邏輯以融通這些異質的概念乃本文探索的重點。進一步的，劉國松的抽象水墨理論與氣韻生動的關係，實能檢視此概念的現代性變樣以及文化離散下的意涵。依此，本文的觀察點是：「氣韻」和中國現代美術運動(或現代中國美術運動)有密切的關係。本文發現，劉國松的氣韻生動論述仍然延續過往傳統論述的態度，供奉氣韻為金科玉律。「殊途同歸」(中西藝術的遇合)與「存而不論」(以氣韻生動為最高指導原則)為其整體藝術論述的基本邏輯，並藉由目的的設定來證成其創作觀的合法性。
Abstract
There was a radical polemical of direction between tradition and modernity, the oriental and the occidental acros the Taiwan Strait after the WII. Liu Guo-song is a typical example in the 1960s. His artistic discourse touched many aspects of the aformentioned controversy. He celebrated new tradition, rebuked the old/fake traditions. However, he disagreed with the total westernization. In creation, he advocated that abstract painting is the convergence of easter-western paintings. Between such pro and cons, he still held the concept of “vividness of Qi“ as the legitimation of his creation and theory. How he established a new theory of vivid Qi is the core exploration of this essay. Furtherly, the relationship between Liu‘s abstract painting and vivid Qi actually tests the denotation and connotation of multifarious modernity and diaspora. As such, the essay puts that the concept of vivid Qi is germane to the movement of Chinese modern painting(or modern Chinese painting). The writer discovers that Liu‘s theory of vivid Qi is still the extention of the traditional discourse. “Different ways toward the same destination“ and “keeping it without further discussion“ are the logics of Liu‘s discourse as a whole. He set the purpose to legitimize his artistic creation.