邊緣的主流－－新世紀（2000年以後）台灣水墨畫的疏離意識

Master stream of the edge New Era ( Post-2000 ) The Alienated Consciousness of Taiwan Ink Paintings

本文主要是從2000年以後台灣社會環境變遷為背景，論及因為政治因素與藝術潮流雙重影響下，使得台灣水墨畫的發展在面對新世紀的開始，形成一種對於水墨氛圍維持疏離狀態的所謂「偏離主流的邊緣」現象。從根本核心的政治因素推究，2000年起的政治輪替，掌握政權的民進黨政府藉著政策的落實逐步強化台灣主體意識，終於讓長期潛藏於台灣的統獨與族群問題檯面化。「去中國化」的議題在經過多次選舉操作中，撕裂了處於台灣社會中立場不同的社群之間的信任度，認同危機與困惑造成水墨創作者對於屬於中華文化正統脈絡承繼上的質疑，無形中形塑了一股從水墨氛圍抽離的「疏離」風潮。這股風潮在結合了新世紀以後更盛行於台灣的後現代藝術潮流，從「不確定性」到「反動」，在「模糊界域」的思想催化下，別於傳統偏重水墨成分繼承而傾向鮮明「個性化」的水墨風格，標舉著台灣水墨的新興語彙。

The background of this study is the transformation in environment in Taiwan after 2000. Under the influence of political factors and art trends, developments of Taiwan ink paintings are stepping into the new era; thus, forming the so-called 'to marginal' in alienated style. Examining from the core political factors, since the political power shift in 2000, the DPP government gradually strengthened Taiwan sovereignty by its policy implementations. Eventually, issues such as independence, unification, and ethnic problems surfaced. 'De-sinicization' became an issue in election campaigns to manipulate the election results. The trust among social groups in Taiwan that held different views was tom apart. The crisis and confusion of recognition caused ink painting artists to query about the legitimism of the passing down of Chinese culture. This imperceptibly formed the 'alienation' of ink painting atmosphere. This trend became widespread in post-contemporary art in Taiwan in the new era. Catalyzed by thoughts of 'uncertainty', 'reaction' and 'vagueness', different from traditional ink painting succession, it is now inclined toward personified ink painting style. The new term 'Taiwan ink paintings' therefore emerged.