從離散到轉譯：劉耿一肖像畫研究

Diaspora and Migration of Wartime Generations: on LUI Keng-I’s Portraits

1938年出生於東京，既非美術科班訓練、亦非任何前衛（抽象）畫會成員，劉耿一總是尷尬地處於分類之外。雖有一位留法的前輩藝術家父親，然而除了藝術天分，劉耿一也未能遵循畫家父親的養成路徑。這些都成了台灣美術研究的挑戰，在主流的系譜論述、現代主義「橫的移植」之外，還能如何觀看､書寫這位戰爭時期出生的藝術家作品呢?劉耿一的作品常充滿詩性的寓意，如超現實般的夢境、廢墟或荒原，色彩堆疊既混沌又深邃，也常出現二聯作、三聯作甚至五聯作。劉耿一畫中人物的面容少有分明五官，多無清晰輪廓。仿彿歷劫餘生後的失語、夢靨與惶惑，猶如畫家生命中不斷的遷徙與離散。他的《自畫像》系列不是典型定義的肖像寫真，不如說是洞察存在真實本質的「內觀」審視。不只是個人的，也是困頓中人性自尋的出路，表現生命掙扎的迂迴。畫家比喻自己的作品不是喧嘩交響樂，而是悠遠的奏鳴曲。如同某些被國族、戰爭遺忘的孤獨世代，包括劉耿一，在畫面中往往出現空靈、神秘、疏離的構圖形式，畫面陰翳的色調､母題與背景空間懸殊的對比。本論文希冀突破台灣美術斷代的瓶頸，以圖像探討來找出溯源的意義。探尋戰爭世代如劉耿一，作品如何突破傳統的類型繪畫，轉譯為個人獨特表現，及其繪畫開啟台灣美術當代性討論命題的重要性。

Born in Tokyo in 1938, neither trained in art schools nor a member of any Avantgarde（abstract）painting society, Liu Keng-I is still awkwardly out of the category in Art of Taiwan. Although his artist's father stayed in France for several years, besides his artistic talent, Liu Keng-I could not follow his father's training path. These have become challenges for the research of art in Taiwan. Apart from the mainstream and the ''parallel transplant'' discussions of modernism in Taiwan, how could we look at and write about the works of this artist born during the war? Liu’s paintings are often full of poetic implications. Like dreams, ruins, or wastelands, the color layers are chaotic and deep, and there are often diptychs, triptychs, or even fivetychs. The faces of the figures in the paintings have few distinct facial features, and many lack clear outlines. It looks like aphasia, dreams, and confusion after his life's journey, just like the subsequent migration and separation in the painter's life. It’s better to understand it as a ''Vipassana'' meditation rather than a ''self-portrait'', which penetrates the truth of existence. It is not only a personal fight, but also the way out of human nature in distress, showing the detour of life's struggle. We found that some artists who were born earlier, these isolated generations forgotten by the Republic and the war, including Liu Keng-I, all appear unreal in their paintings, the alienated form of composition, the shaded tonality, and the contrast of disparity. Through iconographic research, this article aims to break the periodic division in the art of Taiwan and discover the traceability meaning. To explore the artists of the wartime generation such as Liu Keng-I, how the works break through traditional style, translate into individual unique manifestations, and their importance in the contemporary painting of Taiwan.