現代美術學報 4
Journal of Taipei Fine Arts Museum 4


A Metropolitan Idler's Judgement and Redemption — A Review for Hung Ken-shen's Art Creation


洪根深的創作與藝術家的身份,在高雄畫壇中有不容忽視的重要性,他在創作企圖與風格表現上的轉折,亦可謂是研究台灣現代藝術發展的重要人物。從師大畢業後的十年間,他以技法上的創新來表現他對現代主義的追求,作品所呈現的是他對美感形式的不斷試煉;但從 1980 年開始,受到台灣現實環境轉變的影響,洪根深以親身體驗的角度,試圖為時代環境來發聲,不但是主題改變了:由山水自然轉向人性的刻畫,也是創作意圖的改觀,其反技巧、反美學的畫面,沒有了現代主義的實驗精神,所呈現的疏離感亦不是遠離生活的,而是介入環境的。這兩個階段的轉變,是值得做為台灣藝術發展研究上的個案觀察。

本文試著對洪根深 1985 年後的作品,作一意義與價值上的詮釋,進而對洪根深的創作與對台灣現代藝術的發展有所釐清。主要分成兩大部份來進行,第一部份介紹洪根深的生平與時代背景,並描述了作品分期與其轉變的過程;第二部份主要以洪根深 1985 年後的作品,挑選出個人認為最能代表洪根深的藝術創作與企圖的三件作品,作深入的分析、詮釋後,再進行評價。


Hung Ken-shen's artworks and his role as an important artist in Kaohsiung artist circle can not be neglected, and he is also special figure in Taiwanese modem art development in view of his art subject and the transition of his style. During these ten years after his graduation from Taiwan Normal University, he was searching for modernism by technical method and experimenting to aesthetics form in his art expression.

However, from 1980, Hung Ken-shen tried by himself to reflect the contemporary circumstances under his response to the real situation of Taiwan. His subject was transformed from nature landscape to human nature description. His paintings were something anti-technique and anti-aesthetics, without any experimental sipirit of modernism, expressing a sense of estrangement, without leaving the real life but within the circumstances. These two transformations are deserved to take as a case observation in studying Taiwanese art development.

This study is tried to an interpretation to the meaning and value of Hung Ken-shen's works after 1985, and furthermore to make a clarification between his art and the development of Taiwanese modem art. There are chiefly two sections in this study: the first pant presents Hung's career and his backgrounds and description to his different periods and evolutions; the second part makes a deep analysis, interpretation and appraisal of three selective pieces from his artworks after 1985.