臺灣歷史只有短短數百年，但卻經歷過許多外來文化的統治或影響，這些外來文化主導了臺灣的藝術發展，卻也阻撓了臺灣藝術自我的誕生，因此臺灣雖然有許多的藝術家產生，但是我們迄今仍未能明確的定義出什麼樣的藝術是才具有臺灣風格。而在70年代，臺灣社會產生了一股鄉土運動的風潮，從而帶動了洪通風潮的出現。這股風潮興起以及沈寂的原因，除了畫家本身個人特質之外，也和媒體及社會息息相關。因此本研究以臺灣藝術史為脈絡、以洪通現象為參照點探討以下問題：一、臺灣藝術在政權的轉移過程中如何演變？二、經由模仿的風格能否永續發展？三、有哪些重要因素主導了洪通風潮的興起與沒落？本論文並以藝術本位研究方法的精神，將研究主題與成果以數位動畫創作的方式加以呈現，藉由台灣藝術的發展過程，說明僅有單純的移植或是抄襲，以及經由短期的炒作，但是缺乏當地的文化背景所產生的藝術風格，都難以長久持續發展。筆者建議台灣的創作者，應更長遠的思考作品生命週期的永續性，忠於自我、忠於原創。 Taiwan’s history dates back only a few hundred years but in that brief time the island has been controlled and influenced by many foreign powers and cultures. These foreign powers have cultivated the development of the arts in Taiwan but in some ways also obstructed the “self-birth” of Taiwanese Art. That is to say, though there are many artists in Taiwan, there has not been as of yet a style that one can truly call Taiwanese Art. In the 1970’s, Taiwan underwent a surge of social movements one of which the Nativist Movement then fostered the emergence of the Hung Tung wave. The rise and decline of the Hung Tung wave was directly related and dependent on the artist’s own characteristic’s and qualities as well as the culture and media. Using this wave as a case study, this research will discuss the following questions: How Taiwanese Art evolved through changes and transfers in political power? Does imitation of a style provide sustainable development of that style? What were the key factors that led to the rise and decline of the Hung Tung Wave? Through standard art research methods and a digital representation of the topic and findings, this thesis will show that imitation and plagiarism as well as short term hype do not result in the sustainable development of an artistic style and that lack of cultural background and individual artistic style also hinder any long term artistic development. I suggest that the creator should be thinking the life cycle and sustainable of object. Loyal to the self. Loyal to the original.
