人類發明「經緯度」的測量前，在海洋上因缺乏可靠的技術支援，頂多以觀察星辰的方式去掌握船艦的位置。直到十五世紀開始，一連串的科學突破與發展之下，天文航海學的技術革新，使得人們開始由被海洋掌握，轉變成掌握海洋，也因此揭開了「海權時代」的序幕(註1)。從此時開始，西方國家開始依靠航海技術的革新航行於世界各地，並不斷在各個土地上插上他們的國旗，而造成了日後帝國主義的擴張。這些在海權時代之後所被殖民的國家，在無從選擇之下，進而因外在力量的迫使而打開門戶，或者於割讓條約之中承受更換主權的命運。時至今日，所有過去的被殖民國早已獨立，卻無法完全脫離文化上所受到的種種影響，同時，更因為全球化現象，導致一種處於外在衝擊與內在反思的「混沌」認同。就此，今年夏天於關渡美術館的「日昨之島」（The Islands of the Day Before）一展，試圖以「海洋」的角度去觀看這些曾以被殖民國身分下的藝術創作，是如何在內與外的拉扯之中，呈現如同島嶼般的「浮動」狀態？
作為「家屋」的島嶼
在家屋外面的世界裡，雪覆蓋了每一種色。其結果就是在這整片遍佈天地的雪白中，我們感受到一種宇宙的否定狀態。…因為外在世界的存有感被減弱了，反而讓他們體驗到各種私密感質地的張力更為強化。 －加斯東．巴舍拉Gaston Bachelard
以北回歸線作為分隔：以台灣作為座標定點，我們北向面對的是日本，南面則是菲律賓與印尼。台灣所處的位置是一個絕佳的觀照位置，但在過去的歷史中，卻因為位置上的優異，而成為各國占領的慾望所在，甚至在二戰時對日本而言是最佳的「南進基地」。從「經緯度」本身看起，其所構成的座標系統不僅指涉在空間上的轉換，更是對於時間區域劃分的重要依據。然而，若撇開科學技術的觀察，單純以肉眼去看，卻無從察覺到它的存在，此時的我們如同航海術發明前的水手一般，對於一個地方的建構是以自我的身體感知，或是對於整個天地的觀測所組織而成。也就是說，島嶼的存有其實是自身在這塊土地上所建構的意象，我們詩意地建構它，以作為「家屋」的所在(註2)。從黃品玲的《漂浮之島》來看，在一片具想像空間的畫面中，那種靜與動之間的拉扯明顯浮現於上，黃品玲所欲表現的島嶼並非再現我們真正身處的島嶼，而是對於它自我建構並作為家屋的島嶼敘述。而林怡君的《美好時刻52,53》則較不同於《漂浮之島》的詩意建構，在這樣類似於遊戲式的測繪（Mapping）手法下，我們仍可從細微處看出藝術家對於島嶼的抽象思考(註3)。林怡君以多樣的塊狀與線條，反映年輕世代對於自身定位的矛盾狀態，亦即不欲涉入主體認同，卻又在意象中隱藏著這種欲動與欲靜之間的心理層面。
黃品玲，《漂浮之島》，油彩、畫布，112*145.5cm，2013
林怡君，《美好時刻52,53》，油彩、畫布，150*300cm，2013（註4）
以歷史的角度切入討論，台灣在過去經歷了多種政權的殖民統治，從而形成多元複雜的文化形貌。然而，對於「島嶼」本身我們是如何在混沌的狀態下思考？爬梳台灣美術史的發展，早期台灣的島嶼形象來自於荷蘭殖民時期所繪製的大量海圖、地圖與景觀圖，其目的偏向於藝術與科學結合的實用性質，但這些圖像在具裝飾性與知識性兼具之下仍具有極大的參考依據。最早將台灣繪製成一座完整島嶼的是1624年所完成的《台灣海圖》，此圖雖然沒有較精準的內陸標誌，卻總算掌握台灣整體的沿岸輪廓。而清朝時期作為考察管轄地功能的《台灣方志八景圖》，以木刻版的形式繪製了八個重要的台灣景點，但在中國文人的影響下，這些圖像大多是揉合對於中國山水的想像以及離鄉仕官的心境投射（註5）。其後，日治時代所形成的地方與殖民色彩繪畫，戰後因逃避心理仍導向日本畫風的時期，再至七○年代因國際情勢的低迷，而渴望回歸文化根源而出現的懷鄉寫實主義。從宏觀的歷史角度來看，
藝術創作無法與外在情勢切割，而是與它相輔相成，對於島嶼的思考，亦可由此作為討論。其一，在外在環境變遷之下，藝術創作欲重新尋找自身的定位，類似於七○年代所追求的「本土認同」，亦即因外在世界存有感的消逝，使其對於內在認同有著新的體驗。這樣的反思，在彭賢祥的《鱒魚之夢之殘篇》中可以看出他在形式與媒材選擇上，所投射出的認同隱喻。此件作品是由中部大肚山特殊的紅土所燒製出的「土書」，而那些帶有符號性的圖像則隱含著人們於在地想像與對外投射的個體探尋。此外，「書架」上的「書籍」本身便帶有歷史思考的作用，我們似乎如同這些書架，將自我各自置於島的一方來重新定位自身，亦同時反映心中對於島嶼的詩意建構。
彭賢祥，《鱒魚之夢之殘篇》，土書，依場地而定，2007
許旆誠，《沉默的螺旋N41°59'E145°》，油彩、壓克力、畫布，120*240cm，2012（註6）
其二，過去殖民國與身為被殖民地的台灣而言，外來文化上的影響不可忽視，但其意義並非二元對立，而是來自於個人對其歷史的詮釋與定位。策展人在展覽論述中以日本為例，敘述1853 年因美國海軍駛入江戶灣浦賀海面所造成的「黑船事件」，迫使日本結束長期多年的鎖國政策，卻因此逐漸邁入現代化。這樣對於現代發展的轉捩點，日本人不但不將「黑船事件」中的將軍視為一名侵略者，甚至於將日後「明治維新」運動的啟蒙功勞歸功於他，更為其立碑以為紀念（註7）。許旆誠的《沉默的螺旋N41°59'E145°》在色彩上帶有日本膠彩畫的礦物性，構圖上雖以譬喻的方式，隱射台灣與日本之間的文化糾葛，卻使觀者因各種符碼，反思時至今日仍深植於台灣文化的日本色彩。畫面下方雙手舉著旗子的人物，站在島嶼的一隅，面對著左右兩方的不同區塊，指涉的便是個人對於歷史的詮釋，我們該如何看待台灣與日本之間的關係，其實取決於觀者本身的脈絡與認同。
席時斌，《荷魯斯-命運的鳳尾獅鷲 》，不鏽鋼、有機玻璃、鈦金鍍膜，H240*L248*W60cm，2013
全球藝術下的浮動與拉扯
身為太平洋上的四座島嶼，台、日、菲、印在過去皆因海權時代而開啟門戶或遭受殖民的命運。日本的定位較為特殊，同時身為過去的被侵略者，亦為二十世紀的亞洲侵略者，台灣、菲律賓以及印尼皆前後，短暫或長期地受到日本的殖民統治。然而，在今日全球化下的當代藝術，受到過去殖民色彩影響顯著的被殖民地，因而產生在自身脈絡與外在因素之間牽制的狀態。席時斌的《荷魯斯-命運的鳳尾獅鷲 》以金屬材質製作這隻鳳尾獅鷲，形式上帶有一種西方神祕色彩，但其細節卻皆來自於他的自身記憶，也就是屬於台灣這座島嶼的個體記憶。從張晴文討論席時斌作品一文中寫到其創作中的幾何和記憶，幾乎是其作品中的重要關鍵，席時斌近年的的創作，以神話中動物的題材討論虛構文本中的對象，卻往往是庶民生活中不可或缺的象徵物（註8）。再者，以全球藝術的角度看待，身處於一個過去遭受各種外來文化導入，加上現今全球化現象持續擴張的島嶼，我們是如何思考浮動的混雜認同？
蓋伯瑞．博瑞多（Gabriel Barredo），《金屬男人體＃1》，複合媒材，162*126*25ccm，2006-2007
蓋伯瑞．博瑞多（Gabriel Barredo），《金屬男人體＃1》，複合媒材，162*126*25ccm，2006-2007
奈良美智，《東方青春》，壓克力、畫布，160*145cm，2000
對於自身文化的複雜狀態，台灣藝術家在創作上從對於作為「家屋」的島嶼想像，至記憶與身分認同的反思，亦可在日本、菲律賓以及印尼的藝術創作上看出類似的語彙。如菲律賓藝術家蓋伯瑞．博瑞多（Gabriel Barredo）的《金屬男人體＃1》以金屬、絲線等組成的裝置，帶有飛翔姿態的人體，暗示他們在華麗的表層之下欲走出殖民色彩的心理狀態；又如印尼藝術家阿古斯．蘇瓦吉（Agus Suwage）的《修復能力》在明顯受西方影響的構圖與人物造型之外，亦結合帶有印尼本地的圖騰於背景當中，顯示出兩者在文化上的相互牽制。而日本在此展覽中處於一個中心與調和的位置，身為戰後冷漠世代的奈良美智與新世代的大庭之介，在不同的世代視域下，反映藝術家如何看待日本過去的雙重歷史身分，以及近年因經濟成長而導致的諸多問題所在。就此而言，本文以台灣的作品為主要切入點，從此角度將台灣作為座標定點，以此觀察四個國家在島嶼想像之下，所引發的兩種討論：作為家屋的島嶼意象，以及全球藝術下的多元文化形貌。前者從經緯度的技術上出發，其雖然作為精準測量的方式，得以定位島嶼的絕對位置，但對於人們來說，一個島嶼的建構更多來自於意象本身，這樣的現象明顯反應在台灣的年輕創作者身上，也就是一種從自我出發，並將島嶼作為「家屋」的想像，似乎回到經緯度發明前的觀星與感知測量。後者以全球藝術的角度，討論台灣與另外三個國家的藝術家，如何在其創作中表現自身處於殖民文化，與全球化現象持續擴張之下，對於自身的混沌認同，以及浮動的島嶼想像。「日昨之島」一展以特殊的「海洋」觀點，面對過去歷史與當代現實之際，在藝術創作上如何因內外之間的衝擊，而獲得知識開拓的獨立視野，從四個島嶼國家的創作中，拉出一條對於島嶼的延伸思考，亦即我們如何以自身觀點看待歷史，以及如何建構對於自身島嶼的想像。
【註解】
〔1〕經緯度的測量方法來自於英國的一位鐘錶匠約翰‧哈里遜（John Harrison，1693-1776），他所發明的「航海計時器」在1773年6月獲英國國會頒發獎金才算是承認他的經緯度發現，直至1772年庫克船長發現之旅歸來後，才受到當代航海家的肯定。- 蔡雅芝，〈經緯度的故事〉，《科學發展》（2005年8月，392期）。
〔2〕加斯東．巴舍拉(Gaston
Bachelard)著，龔卓軍、王靜慧譯，《空間詩學》（台北：張老師文化）。
〔3〕張禮豪，《日昨之島》展覽論述，2013。
〔4〕圖片來源:非池中藝術網 (取自: https://www.facebook.com/media/set/?set=a.647684608590051.1073741885.132432786781905&type=1)
〔5〕劉益昌、高葉榮、傅朝卿、蕭瓊瑞：《台灣美術史綱》（台北：藝術家出版社，2009年）。
〔6〕同註四。
〔7〕同註三。
〔8〕張晴文，《記憶，以及人的尺度 ——席時斌個展「在我們的馬車上製作一座星盤」》( http://studio-bin.blogspot.tw/)
Floating Island Imagination: Discussion of Extended Speculations of “The lsland of the Day Before”
Before the invention of “geographic coordinate system”, mankind only could control the location of vessel by observing the stars as the shortage of reliable technical support. Not until the years of fifteen century, Technical improvement of astronomical navigation under a series of breakthrough and development of science did people master the ocean from being controlled by the ocean to lift curtain on “the age of sea power”. The western countries had begun sailing around the world since then, and continuously planted their flags on the lands worldwide, causing the expansion of imperialism in the future.
These colonial countries after the age of sea power had no choice but were forced to open the doors by foreign strengths or bear the destiny of sovereign replacement in treaty of cession. Up to this day, all colonial countries in the past were independent but have not yet separated themselves from various influences in the culture. In the meantime, the phenomenon of globalization further results in identification of “hybridity” between external conflict and internal reflection. At this point, the recent exhibition “The Islands of the Day Before” in Kuandu Museum of Fine Arts attempted to view how the artistic creations with identities of colonial countries at the angle of “ocean” present “floating” status same as an island.
The Island served as the “House”
In the outside world,snow covers all tracks, blurs the road, muffles every sound; conceals all colors. As a resulf of this universal whiteness, we fell a form of cosmic negation in action…because of the diminished entity of the outside world, experiences all the qualities of intimacy with increased intensity. －Gaston Bachelard
Setting northern tropic to separate from coordinate point in Taiwan is Japan in the north we face and Philippines and Indonesia in the south. Taiwan is in an excellent observation location; however, its distinct location attracted many countries desires to occupy and became the best “base of marching south” for Japan in WWII. Standing at the viewpoint of “longitude and latitude” itself, the coordinate system constructed not only refer to the conversion in the space but also is an important basis of time zone division. Nonetheless, we cannot simply perceive its existence with naked eyes regardless of observation by scientific technology as if we were sailors before the invention of navigation in combination of constructing a place with self-body perception or observation of the universe. Namely, the existence of an island is an image constructed in the land where we are, poetically, the location of the “house”.
According to Huang Pin-Ling’s “Floating Island”, drag between static and dynamic significantly appeared in a piece of picture with an imaginary space. The island that Huang Pin-Ling presented is not an island where we really are but description of an island served as the house with self-construction. Lin Yi-Chun’s ”Wonderful Moment 52,53” is quite different from poetic construction in “Floating Island”. With skill similar to “Mapping” of the artist, we can find out her abstract thought on the island from the details (note 3). Lin Yi-Chun tried to reflect contradictory state of young generation’s self-positioning with variety of massiveness and lines, not involving in the subject identity but concealing psychological level between intended static and dynamic.
From history point of discussion, Taiwan has thus become multiple and complex cultural morphology after experiencing colonial domination under variety of regimes. Nevertheless, how should we think deeply under the state of “chaos” on “island” itself? By carefully examination of the development of Taiwan’s art history, the island image of early Taiwan came from a large number of nautical chart, map and landscape map drew in the Dutch colonial period, which the purposes biased toward practical nature combined with art and science. But these graphics still have high reference frame along with decoration and knowledge. “Taiwan charts” completed in 1624 was the earliest map that Taiwan was drew in a shape of island. Even it didn’t have more precise inland symbols the map mastered more or less the contour along the bank of Taiwan.
“Eight Views of Taiwan Chronicles” issued in the Qing Dynasty drew eight important scenic spots in Taiwan in the form of woodblock prints for the purpose of investigation of jurisdictional territories; In spite of this, these images were blended with imagination of Chinese landscape and people’s state of mind projection when away from home for official career. Afterwards, the local and colonial style of paintings formed in the period of Japanese occupation, but still guided to Japanese style after war due to evasion psychology. Homesickness realism appeared with desire of returning to the cultural roots in 70s when the downturn in the international situation.
From macroscopic historical perspective, artistic creation is unable to separate from the external situation but supplement each other. The thinking of the island can be discussed on this basis. Firstly, relocation of artistic creation itself under the change of external environment is similar to “local identity” we pursued in 70s, i.e. vanish of the existence of external world causes new experience in internal identity. Such introspections can be found in Peng Hsien-Hsiang’s ”Dream of Thout-Fragments” that identity metaphor is projected from his choice of the form and media. This work is a “clay book” made from special terracotta of Mountain Dadu in central Taiwan, symbolic images on which implied people’s individual search between local imagination and external projection. Additionally, “books” themselves on the “bookshelves” have the function of historical thinking as if we’re these bookshelves putting ourselves in any side of the island respectively to relocate and reflect poetic construction for the island in our minds. Secondly, the influence of foreign culture from the colonial power on Taiwan as a colony cannot be ignored. Its meaning is not binary opposition but interpretation and relocation of an individual on the history. A curator took Japan as an example in the exhibition discourse that the U.S. Navy warships arrived at Uraga Harbor in the Edo Bay and under threat of attack demanded that Japan open to trade with the West resulting in “the Black Ship Event”. This event even though forced Japan to bring its closed-door policy to the end but allowed Japan gradually to modernization. Facing this turning point of modern development, Japanese not only would not treat U.S. Navy General as an aggressor but also attribute enlightenment of future “Meiji Restoration” to him and further monumentalize the event.
Mineral paint on Hsu Pei-Cheng’s ” Spiral of Silence N41°59' E145°” is like Japanese Nihonga. Although his composition of a picture hinted cultural entanglements between Taiwan and Japan with metaphor method, the viewers could reflect Japanese style deeply planted in Taiwan culture up to this day from variety of codes. A figure below the picture raising the flag stands at a corner of the island facing different blocks on both left and right sides, which refers to personal interpretation of the history. The way how we deem the relationship between Taiwan and Japan actually depends on viewer’s individual context and identification.
Floating and Pulling under Global Arts
Taiwan, Japan, Philippines and Indonesia, four islands in the Pacific were in the destinies of opening doors and colonization in the age of sea power. The positioning of Japan is more special as it was a victim of aggression and an aggressor of Asia in the twenty century that Taiwan, Philippines and Indonesia were under Japan colonial rule for short and long term. However, the contemporary art in the colonies under today’s globalization is significantly affected by previous colonial character thus generated containment state between individual context and external factors.
This Phoenix Tail was made of metal material in Hsi Shih-Pin’s “Horus-The Fatal Gryphon with Phoenix Tail” with form of western mystery, but all details came from his personal memory, which is an individual memory belonged to Taiwan island. Referred to Chin-Wen Chang’s articles for the discussion of Hsi Shih-Pin’s works, it mentioned that geometries and memories in the creation are almost important keys for his works. Hsi Shih-Pin’s recent creations used mythical creatures as subjects but always indispensible symbolic objects in the life of the common people to discuss the objects in fictional text. Furthermore, how should we standing at the position of global arts think floating mixed identification in the island suffered from introduction of various foreign cultures adding continuously expanded globalization at present?
Similar vocabularies can be seen from the imagination about the island served as a “house” to the reflection of memory and identity in the creations of Taiwan’s artists including those of Japan, Philippines and Indonesia’s artists toward complicated status of individual cultures. For example, Gabriel Barredo, Philippines artist used metal and silk thread to compose a device “Wired Man＃1” that a human body with flying posture hints they intend to go out of colonial character under gorgeous surface layer; For another example, Agus Suwage, Indonesia artist showed mutual dependence in both cultures by connecting with local totem on the background of his work “Rest Energy” that composition and character shape are obviously influenced by the west.
While Japan in this exhibition located in the center and reconciliation, Yoshitomo Nara of indifference generation and Dasisuke Ohba of new generation after WWII based on different generational horizon reflect how artists treat Japan’s dual historical identity in the past, and many problems caused by economic growth in the recent years. Taken in this light, this article used Taiwan’s works as a major breakthrough point to set Taiwan as a coordinate point producing two discussions by observing four countries under the island imagination: Island imagination served as a house and multiple cultural features under global arts. The former starts from the technology of latitude and longitude, though the method of precise measurement can locate absolute position of the island, more come from the image itself for the construction of an island. This phenomenon significantly responds to Taiwan’s younger creators, meaning the imagination for an island served as a “house” started from oneself to return to the measurement of star gazing and perception before the invention of latitude and longitude. The latter based on the viewpoint of global arts discusses how artists in Taiwan and other three countries created colonial culture that they have had it with, and present their chaos identification as well as floating island imagination under continuous expansion of globalization phenomenon.
How the exhibition ” The lsland of the Day Before” facing previous history and modern reality at standpoint of specific “ocean” can acquire an independent view of knowledge development on artistic creation from the impact between inside and outside and pull out an extended thinking about the island from creations in four island countries. That is how we view history at our own views and how we construct our own island imagination.
