崇古摹古及其心态探因.pdf

高雄師大學報 2009, 26, 121-136 崇古摹古及其心態探因 盧福壽 1 摘要 文化藝術的崇古心態起源甚早，元之後更甚，近現代後則反轉。 「崇古」可能因於藝術形式發展可能性窮畫而生的「超越無望」的心理，衍生 了「今不如古」的批判反省，包括繪畫原來崇高的教化作用，創作的真誠性，創作者 人格風範的失落，以及對作品風格日趨巧熟、俗艷的不滿等。 崇古反映的是藝術史並非進步史，藝術原先形式的精質，會因演變而稀失。重 視經驗傳承的封閉性農業政體，尤其習於在過往中尋求慣例權威，「崇古」可以理解， 而藝術作為溝通形式，尋求共通的理解，亦不免要尋根探源，學習典範規則。 因崇古而摹古的「集大成」雖為積極的理想，但終不易成功。因為優異的藝術 格品超越了筆墨技法，而且不同的藝術形式畢竟無法任意移植組合。 關鍵字：崇古、摹古、超越無望、畫外之功、集大成 投稿日期：民國 98 年 3 月 17 日；接受刊登日期98 年 6 月 12 日 1 國立高雄師範大學美術系副教授 122 高雄師大學報 第二十六期 Ancient Worshipping and Ancient Tracing － An Investigation of Their Mindsets * Fu-Sow Lu Abstract It started extremely early since the beginning of ancient worshipping of culture and art. The situation was much more serious after Yuan Dynasty; yet, the trend was reversed in the most recent modern times. “Ancient worshipping” is probably from a state of mind of “hopeless surpassing” caused by a poor possibility for the art form development. It generates a critical reflection that “modern is not as good as ancient,” including the noble cultural teaching function by paintings, sincerity of artworks, the missing moral integrity of the artists, and the dissatisfaction to the art styles that become skillful, unrefined, and mediocre. Ancient worshipping reflects art history instead of history of development. The essence of the original art form will evolve and become dissolved. A closed agriculture political regime that emphasizes historical heritage is accustomed to search for customary prac