臺灣「後現代」觀察 = 水墨的本土化與國際化

다국어 초록 (Multilingual Abstract)

After mid-80’s, the comparative concept in Taiwan contemporary cultural arts of “localization” and “internationalization” becomes the era topic. “Localization” as “Taiwan” and “internationalization” as “modernism” seem to be regarded as synonymous. However, it is not easy to clarify the complicated definition by simple dichotomy.
Localism is a multiple culturalism instead of a conservative thinking, it should be a flexible concept. “Localization” is not outdated but preserving the main culture and integrating the value of both old and new cultures. On the other side, “internationalization” represents that the Western mighty culture affects the Third World but not equals to modernism, and it is a compromised sense.
The manner that how Western “Postmodernism” subverts the contemporary ink-painting is the main reason of the consequence in divergence; nevertheless, it contains positive “freedom” and “possibilities” in stimulating the creativity of ink-painting arts. Currently, Taiwan “postmodernism” combines a great deal of cultural resources and it conserves traditional ideas and creates brand-new opinions simultaneously. Therefore, the delimitation of “localization” and “internationalization” is no more distinct. As my observation, an open-minded cultural awareness makes a new definition in contemporary arts of focusing on subjects themselves and the spirit of era.
The development of Taiwan principal artistic thoughts are effected by post-colonialism and postmodernism, as well as domestic trouble and foreign invasion. These lessons become a profound energy of humanities, not less than a core value of “modern” and “postmodern” ink-painting arts.
Accordingly, the interpretation of “localization” and “internationalization” could be representative of the primary culture of contemporary Taiwan.

목차 (Table of Contents)

• 중문초록
• Ⅰ. 前言
• Ⅱ. 本土：一種多元的文化主義
• Ⅲ. 「本土化」與「國際化」的關聯
• Ⅳ. 小結
• 참고문헌
• Abstract