「現代」的渡海情境──何鐵華「新藝術運動」與戰後臺灣現代主義

The Cross-Strait Context of“Modernity”: Ho Tieh-hua’s“New Art Movement”and Postwar Taiwanese Modernism

從一九四七到一九五八年之間，何鐵華（1910-1982）編刊物、辦展覽、開班授課，儼然是臺灣藝文界的風雲人物；其間發表了多篇藝評介紹西方現代主義藝術，並大力主張自由中國應該發展「新藝術」。從時間點來看，何鐵華與其所主張的「自由中國新興藝術運動」，恐怕才是戰後臺灣大規模引介西方現代主義思潮的起點。本文即考察何鐵華「新藝術運動」的渡海演變，首先向上梳理其承繼自一九三○年代上海的現代主義思潮；其次討論「新藝術運動」如何在渡海後與反共的歷史情境交織，而成為具有現實意義的藝術運動；最後，則向下梳理「新藝術運動」與臺灣戰後的「現代主義繪畫」、「現代主義文學」的內在關係，將其連結至臺灣現代主義的發展史，釐清戰後現代主義的「西化」質疑。

Between 1947 and 1958, Ho Tieh-hua何鐵華(1910-1982) edited publications, organized exhibitions, and held classes, becoming a prominent figure in Taiwan’s art and cultural scene. During this period, he published numerous art critiques introducing Western modernist art and strongly advocated that Free China should develop a“new art.”From a chronological perspective, Ho Tieh-hua and his proposed“Free China New Art Movement”are likely the starting point for the large-scale introduction of Western modernist thought in postwar Taiwan. This article examines the cross-strait evolution of Ho Tieh-hua’s“New Art Movement.”First, it traces the roots of this movement back to the modernist currents of 1930s Shanghai. Next, it discusses how the“New Art Movement,”after crossing the strait, intertwined with the anticommunist historical situation to become a significant and meaningful art movement. Finally, it explores the potential internal connections between the“New Art Movement”and postwar Taiwan’s“modernist painting”and“modernist literature,”linking them to the development of Taiwan’s modernism in an effort to clarify doubts about the“Westernization”of postwar modernism.