宣稱見證二二八事件的木刻版畫：黃榮燦〈恐怖的檢查〉暨其木刻創作

Abstract

本文由宣稱為見證二二八事件發生時的第一手美術作品─黃榮燦〈恐怖的檢查〉開始，由此展開討論黃榮燦所繼承的中國左翼木刻運動與來臺後所創作的木刻版畫。本文問題焦點在於〈恐怖的檢查〉何以成為見證二二八事件發生的第一件作品，並藉此提問黃榮燦的作品受到所處時代的文化氛圍、報紙媒介影響之餘，其創作歷程與作品內涵是否也可能展現了藝術在見證事件／時代發生時，另一種特殊的美學形式。本文在重新尋找有關黃榮燦的史料與文獻基礎上，就他來臺後身兼報刊編輯，關心臺灣美術發展並與當時的臺灣文化人士多有交流所發表的文章與作品中，探討他的藝術理念，並例舉其他重要的版畫作品進行視覺分析，以理解他所謂的批判社會現實的新現實美術。本文最後提出，他的版畫創作與中國左翼木刻版畫運動有所差別在於：黃榮燦涉身參與大眾生活的藝術實踐與他所創作的木刻版畫畫面上傳達的情感表現力，反而與中國左翼木刻畫家純粹地為革命而用的藝術工具不同。

This paper aims to discuss why the Huang Rong-Can’s woodcut, the Horror Examination, could be claimed as a witness of 2-28 incident. When the Chinese Left- wing Woodcut artists has been transferred from China to Taiwan, they created some critic artworks by revealing the situation of the society. Due to the woodcut specificity, the immediacy for print and the expression for the social reality, the woodcut became an artwork which is usually used on the purpose for the people. However, what cannot be neglected is the artistic potential of the woodcut. Therefore, by re-finding the firsthand articles, life resources, and the woodcuts of Huang Rong-Can, this paper attempts to point out the politics of Huang Rong-Can's woodcut that is resided in his unique aesthetics expression. His artworks show the way in which the artistic practice combined within the social life and was indeed different from the appliance of revolution art, which is often advocated by the artists of the Chinese Left-wing Woodcut Movement.