現代與後現代藝術觀點對台灣藝術理論與創作研究之意涵

The Implications of Modern and Postmodern Perspectives of Art for Studying Taiwanese Art Theories and Artistic Production

當前從事台灣藝術理論與創作研究者，不論是學院學生（研究生與大學生）或一般學者與創作研究者，對於現代與後現代藝術觀點輒有所引用，乃至採用其某些特定觀點而形成其理論或創作研究論述之基礎。故進行台灣藝術理論與創作之研究者最好能對於現代與後現代之相關觀點，加以釐清以適切應用，如此方能使該論述更精確適切，且研究能更深刻，同時對於研究之學術嚴謹性有所增進。因此本文擬首先探析現代藝術相關觀點及其意涵，包括現代主義與現代藝術名詞之意義、藝術精英主義觀點、以及現代藝術觀點之傾向；其次，分析後現代藝術相關觀點及其意涵，包括個人去中心化與真理去中心化之觀點、反人文主義之合理性、以及後現代藝術觀點之傾向。最後討論中國美學相關觀點及其與現代與後現代藝術觀點之關係，以及其意涵，包括儒家人文主義美學與西方美學之相應與互補、以及禪美學與西方現代及後現代藝術之關聯。

Recently, researchers studying Taiwanese art theories or artistic production usually refer to modern and postmodern perspectives, or even adopt certain viewpoints to form their foundations for art theories or artistic production. To clarify modern and postmodern theories and appropriately apply related viewpoints are necessary for the researchers to make discourse suitable and deepen the research. The article attempts firstly to analyze related viewpoints of modern art and their implications, including issues on modernism and modern art, elitism in art, and the inclination of modern art. Secondly, it analyzes related viewpoints of postmodern art and their implications, involving issues on de-center of self and truth, anti-humanistic rationality, and the inclination of postmodern art. Finally, it deals with related viewpoints of Chinese aesthetics and their relationship with modern and postmodern theories, as well as the implications, including the correspondence and compensation between Confucius humanistic aesthetics and Western aesthetics, as well as the connection between Zen aesthetics and modern and postmodern art.