來自常民的視覺思維──李俊賢本土化歷程與「合體字」及「花鳥體」

The Visual Dialogue from Taiwanese Folk Culture: Ligature and Leather Brush Art in the Context of Jiunshyan Lee's Localization Strategy

1957年生的李俊賢，大學畢業後台灣解嚴，紐約留學期間，在多元文化對比下，李俊賢開始他「台」的深掘。回台後思考著「本土化」，構思「台灣計劃」、「視覺思維」、「土地感」。他以常民文化為題，畢生追求「豪快、熱帶、土地感、海洋、次文化」的fu。本文就「合體字」對中文的反動及在地文化的呈現及「花鳥體」華麗裝飾性形式，加以爬梳探討。回溯兩者與台的關聯性，及李俊賢如何生猛卻巧妙地對性格明顯的兩者進行創作轉化。李俊賢的台，來自於他對土地的情感，他期望藝術元素能夠來自於他成長的土地，「台到深處無怨尤」，他說。

Jiunshyan Lee, born in 1957, was a Taiwanese artist famous for his locally-themed artwork. After the lifting of Taiwan’s martial law in 1987, the Taiwanese people were finally able to discuss their own identities. At that time, Lee was in New York, which was a well-known cultural melting pot. The multicultural city urged Lee to re-examine his local culture. Upon returning to Taiwan, he began thinking about the potential to thematically localize the subjects of his creations. He organized the Taiwan Project, and put forward the concept of “visual dialogue” and “land sense”. Folk culture had always been his prioritized subject matter, as he strove to pursue the feeling of “coolness, tropicality, land sense, ocean, and sub-culture” amongst other things. This essay is a study of his localization strategies, and to see how he appropriated ligature and leather brush art as both content and form in his artwork. His Tai（台）identity came from his heartfelt connection to Taiwan. Lee had dedicated his life to using folk culture in the construction of a Taiwanese subjectivity in his artwork. When commenting on his ties to Taiwan--- his motherland--- he stated the following: “There is no sense of regret for being Tai.”