臺灣現代繪畫的巨擘：梁奕焚鄉土情懷的感性與浪漫

Giant of Taiwanese Modern Painting: The Sensibility and Romance of Yi-Fen Liang’s Native Sentiments

臺灣歷經日本殖民統治、戒嚴及解嚴後的歷史變遷，塑造了臺灣藝術不同的面貌，也深受國際舞臺與政治氛圍的交互影響。梁奕焚，1937年出生於彰化縣芬園鄉，幼年時期，見證了臺灣脫離日本殖民，進入戒嚴時期的陰霾；於就讀臺北師範學校藝術師範科時，奠定了紮實的傳統繪畫基礎；畢業後，在李仲生的教導下，積極吸收國際現代藝術思想；50歲之際，跨足美國紐約，融入現代藝術殿堂。梁奕焚身經臺灣轉型的社會文化價值轉變，其追求藝術崎嶇之路，亦緊緊結合臺灣現代藝術的誕生。本研究透過文獻分析及深度訪談，揭示梁奕焚之現代繪畫集結抽象與具象、主觀感性與客觀理性的美學意義，且在風格上呈現出西方現代與東方傳統的融合，具有以下特色：一、不受拘束的創作形式：以簡潔的現代素描為基礎，反對傳統的圖像描繪，著重發掘個人特色與精神性的繪畫風格。二、線條簡約及色彩豐富：極端單純的線條，歸於原始與純樸；「非自然」用色方法，降低對自然色彩的敘述性。三、民俗印記與思鄉情懷：東方的「思鄉情懷」成為西方人的「異鄉情懷」。綜觀梁奕焚強烈的創作力量與永不悔的藝術人生，猶如一場浪漫的樂章、一段美麗的邂逅，彰顯著臺灣現代藝術在世界舞臺上的卓越存在。

The changes over the course of Japanese colonial period, martial law and the lifting of the control have transformed the way of arts, as well as being deeply influenced by the international stage and political atmosphere at the time.
Born in 1937 in Fenyuan Township of Changhua County, Yi-Fen Liang witnessed the transition of Taiwan from Japanese colonization to a period of martial law during his childhood. His studies at the College of Arts of National Taiwan Normal University have helped him build a solid foundation in traditional painting, which upon his graduation, he was able to accept more international modern views of arts under the tutelage of Zhong-Sheng Li. By age 50, he went to New York and naturally merged in that trend of modern art. He has personally experienced the transformation of social and cultural values in Taiwan, pursued after a painstaking path of art and yet was able to finally integrate in witness with the birth of modern art in the country.
This study aimed to reveal the aesthetic significance of his modern paintings, which conveys both abstractness and concreteness, all with subjective sensitivity and objective rationality, through literature review and in-depth interview. The art style is a fusion of Western modernity and Eastern tradition, as an attempt to illustrate: 1. Unconstrained form of creativity based on simple modern sketches to oppose the traditional art depiction to emphasize on exploring individual characteristics and spirit; 2. Lines of rich colors as a way to return to primitive simplicity with the use of“unnatural”coloring to reduce excessive narratives through natural colors; and 3. Imprint of folk customs for the sense of“homesickness”, where the yearning of“East”emerges from that feeling of“alienation”in the foreign land. Liang’s strong creative power, coupled with his never-regretting artistic life, is like a romantic music piece or a beautiful encounter, showcasing the magnificence of Taiwanese modern art on the world stage.