從西漢帛畫的空間探討台灣當代水墨中的空間融混及跨域

From the Spatial Concepts in Western Han Silk Paintings to the Spatial Hybridity and Cross-Domain Practices in Contemporary Taiwanese Ink Art

本文探討台灣當代水墨繪畫中的空間混融現象，指出其已成為常見的藝術表現方式。當代水墨中的空間觀不再侷限於單一架構，而是展現出多樣態與複合的空間感，其轉變源自於外在社會環境的變化，呼應王秀雄所言：「繪畫史即人類對於其所處空間的認識史。」環境空間的轉換引動了人類內在思維的更新，並具體反映於繪畫空間之中。回顧東方繪畫歷史，早在西漢馬王堆出土帛畫中，即可見到多重時空交融的空間觀。此類自由且富於想像力的構圖，不僅堪比西方超現實繪畫的精彩，亦展現嚴謹的結構與秩序，體現了古人對生命與宇宙的理解與祈願。本文以1972年出土於湖南長沙馬王堆的一號帛畫為例，梳理其空間觀的特徵，並進一步探討不同空間之間的相互融混，藉此分析當代水墨繪畫中空間混融現象的可能性與意義。

This study examines the phenomenon of spatial hybridity in contemporary Taiwanese ink art, where the conception of space has shifted from a singular framework to multiple and complex spatial perceptions. Such transformation stems from changes in the external socio-cultural environment, echoing Hsiu-Hsiung Wang’s view that the history of painting is, in essence, the history of humanity’s perception of space. As spatial changes in the external world reshape inner modes of thought, they become materially embodied in pictorial space. Historically, the hybridity of space can already be observed in the silk paintings unearthed from Mawangdui during the Western Han period. These works, rich in imagination and freedom yet structured by rigorous systems, rival the brilliance of Western Surrealism while reflecting ancient visions and aspirations concerning life and the cosmos. Taking as a case study the No.1 silk painting excavated in 1972 at Mawangdui, Changsha, Hunan, this paper analyzes its spatial concepts and the interplay of multiple spatialities, thereby exploring the possibilities and implications of spatial hybridity in contemporary ink painting.