| 摘要: | 張瑞頻與張嘉穎是以奇幻畫風與挪用手法創作的台灣藝術家，她們以古典的技法融合中西方藝術史、童話與神話故事、現代甚至未來科幻的元素，創作出指涉現實或脫離現狀的奇幻想像世界。兩位藝術家皆以挪用大眾熟悉的圖像，來拉近觀者與畫作的距離，卻展現十分不同的挪用表現。她們的創作大多都是從個人內心與生活敘事出發，但是其圖像敘事有著截然不同的策略和效果。在以往關於她們的研究中，大多都是根據展覽主題廣泛論述她們的創作形式，卻未深入探討她們畫中帶有陌生化效果的挪用手法，也未深入了解她們奇特的角色運用與其身份轉換背後的意涵。本論文將透過訪談進一步了解藝術家創作的觀點與心路歷程，觀看她們如何透過挪用、敘事、角色運用以及想像力，以奇幻畫風削減過於嚴肅、負面的現實境況，以較為輕鬆有趣的畫面帶領觀者思索不同議題，或創造一個遠離喧囂讓心靈休憩的場所。
本論文的第一章主要追溯西方藝術史的挪用定義與表現形式，探討西方藝術家對於挪用的使用方式與探討的議題。之後視角轉回台灣，從台灣以挪用為主題的兩檔展覽相關資料與謝東山的論述，了解挪用在台灣的發展概況，並擇取作品探討其中的展現形式與手法，以及台灣與西方藝術的差異。第二章首先了解圖像如何產生與表現敘事性，再將張瑞頻以挪用藝術史和挪用政治時事與文化宗教等創作區分成兩節，深入討論其中的挪用手法、角色轉換與圖像敘事性，以及如何指涉社會時事與政治議題。第三章探討張嘉穎形似肖像畫的創作形式，以及特殊的隱性挪用手法、角色運用與畫風演變的過程，並深入解讀畫中人物的「凝視」特質。再探討她繪畫中的冷面劇場特質與互動性敘事結構，如何隱晦的展現現實社會中的議題與現象。結論則對兩位藝術家的創作進行對照與分析，探討她們奇幻繪畫中的異同之處，和想像力的重要性。
;Chang Jui-Pin and Chang Chia-Ying are Taiwanese artists who use classical techniques to fuse elements of Chinese and Western art history, fairy tales and myths, modern and even futuristic science fiction to create fantasy imaginary worlds that refer to reality or are detached from the status quo. Both artists use familiar images to bring the viewer closer to the painting, but they show very different expressions of appropriation. Most of their creations start from personal inner and life narratives, but their pictorial narratives have different strategies and effects. Most of the previous studies on them have broadly discussed their creative forms according to the exhibition′s theme, but have not deeply explored the appropriation techniques with the effect of defamiliarization in their paintings, nor have they deeply understood the meaning behind their peculiar use of roles and identity transformation. Through interviews, we will learn more about the artists′ perspectives and mental journeys, and see how they use appropriation, narrative, role use, and imagination to reduce the overly serious and negative reality with a fantasy approach and lead the viewer to think about different issues with more relaxed and interesting images, or create a place for the soul to rest away from the hustle and bustle.
The first chapter of this Thesis mainly traces the definition and expression of appropriation in Western art history and explores the use and discussion of appropriation by Western artists. After that, the perspective turns back to Taiwan, and from the relevant materials of the two exhibitions on the theme of appropriation in Taiwan and Xie Dong-Shan′s discussion, we understand the development of appropriation in Taiwan and select works to explore the forms and techniques of expression, as well as the differences between Taiwanese and Western art. Chapter 2 first discusses how images produce and express narrative, and then divides Chang Jui-Pin′s appropriation of art history and appropriation of political current affairs and culture and religion into two sections, and discusses in depth the appropriation techniques, role reversals, and the narrative nature of images, as well as how to refer to social current affairs and political issues. Chapter 3 discusses Chang Chia-Ying′s pictorial form similar to portraiture, the special implicit appropriation techniques, the use of characters, the evolution of her painting style, and the characteristics of “look” in her paintings. Then we will explore the characteristics of deadpan theater, her paintings′ interactive narrative structure, and how they implicitly show issues and phenomena in real society. The conclusion is to compare and analyze the two artists′ creations and explore the similarities and differences in their fantasy paintings, and the importance of imagination. |
