吳冠中與傑克森‧帕拉克（Jackson Pollock）作品遍質形式風格（Allover Style）之異同

Wu Guanzhong and Jackson Pollock Over the Qualitative Form of the Similarities and Differences of Style(Allover Style)

東西方基於不同的自然條件形式相異之文明，隨著工業、科學、科技資訊愈加發展，產生的文字、宗教、藝術等愈具地域特色，各有所長。無論東方還還是西方文化，皆以不同方式產生千姿萬態的美，各具特色，無優劣之分。美學在19世紀才創立，文化始於精神文明濫觴之時。千萬年前，人類文明在不同地區已不約而同衍生最原始、相似的文化之光，並具一致性。吳冠中水墨油彩，東西相融的風采與帕拉克傾洩、滴流、遍佈形式，兩者遍質風格(Allover Style)之特質表現如磁石般吸引了作者，並於期間見著其內在精神之異別。藉由遍質(Allover)的形式，吳冠中作品呈現精神的昇華，藝術的極簡─空靈。帕拉克作品則是精神的釋放，藝術的隱喻─空洞。由吳冠中的作品，可從容進入帕拉克的世界。一個老成羽化，一個單純、盡性，其間有著感性的感動，有感而發作為此次研究題目。

The differences between Eastern Civilization and Western Civilization, which are caused by different natural conditions and different trajectories in the development of industry, science, and technology, cause the differences in language, religion, and art between the East and the West. Both Eastern and Western cultures have their own characteristics and beatitude. While aesthetics was founded in 19th century, culture was founded at a much earlier time, when the culture of spirit was founded. Tens of millions years ago, different regions had produced a similar primitive culture. Both Wu Guanzhong’s Ink Paint, which combines Eastern and Western styles, and Pa Lake’s expression of spilling, drop, and omnipresence, are featured by so-called “Allover Style” and are very impressive to me. In spite of the similarity between the two authors, I can detect their difference: while “Allover Style” manifests itself through the elevation of spirit, artistic simplicity, and agedness in Wu Guanzhong’s works, “Allover Style” manifests itself through the release of spirit, artistic emptiness, and sensibility. This paper aims to compare the styles of the two authors’ works.