向「傳統」借火：一九六○年代臺灣「現代」詩畫的遇合－－以劉國松、余光中為論述核心

Between tradition and modernity: The marriage of Taiwan Art and Poetry in 1960s by case of Yu Kwang

一九六○年代是台灣「詩畫聯姻」的時代，而箇中的「現代」詩與「現代」美術，在實質內涵上，有一向「傳統」借火的歷程。本文首先耙梳五○年代末現代詩社與兩大畫會的遇合情狀——現代派、創世紀詩社與東方畫會，同是軍中文藝的組成，同樣具有超現實主義的創作方向；而藍星詩社與五月畫會，同是學院派，同樣傾向抽象中國的建構。在解釋身份與理念的遇合狀況以後，本文接下來以劉國松與余光中為中心，分析六○年代初期現代美術論戰以及天狼星論戰，兩場論戰對詩畫秩序的重構過程。本文歸結，在劉國松與余光中，最終以向「傳統」借火作為現代詩畫的創作抒解之道，而這個「傳統」的所指，是向中國哲學思想取經的。本文同時指出，「現代」文學史與美術史在六○年代與「傳統」的交會過程，以及，如是呈現在戒嚴體制文化下的意義。

There were many connections between modern Taiwanese art and poetry in 1960s, especially in the marriage of modern forms with traditional interpretations. This paper is divided into three main sections. Section 1 provides some background information about the relation between art group and poetry society by case of Epoch Poetry Society, Modernist Poetry, Ton Fon Art Group, Blue-Star Poetry Society and The Fifth Month Art Group. Section 2 discuesses the Modern art debate and Sirius Debate, describing some of the problems that Yu Kwang-Chung and Liu Kuo-Sung encountered. Finally, Se