| 摘要: | 本文旨在透過臺灣近現代花藝發展歷程的建構，探討「財團法人中華花藝文教基金會」(後以「中華花藝」稱之)成立之時代意涵，並經由「中華花藝」的表現形式解析其內在質性。筆者透過日治時期相關文獻的彙整與訪查資料發現，東洋花藝透過日治時期女子教育的插花課程，與當時社會風氣、內地(日本)圖書的導入，奠下了臺灣近現代花藝發展的良善基礎。 而戰後，學校教育、社會多元學習管道及互動頻仍的花藝活動，則成為東洋花藝在臺灣持續發展的推力。直至七○年代末期，透過李碧玉、洪世芳與林秀德等人直接與歐美交流，西洋花藝(重色彩、量感、幾何造形運用)方才首次越過東洋仲介的籓籬，以獨立的表現方式轉變了臺灣花藝泛東洋化的侷促面向。 文化復興運動時期(六○~八○年代)，花界人士開始了花藝復興的相關舉動，其中「中華婦女蘭藝社」以「中國古典插花藝術展」(1984)完成了傳統花藝再現的階段性使命，而黃永川則以中華文化建構了傳統花藝的內在根基，並於一九八六年成立「中華花藝」。因而，透過傳統文化的重建，「中華花藝」逐步架構了系統性的形式與結構，同時在中國儒、道的哲學思維中完成了內在質性的詮釋，此舉不僅突顯了「中華花藝」鮮明的特性和基本精神，亦宣示了它「傳統文化建構」的時代意義。 此外，「中華花藝」創會以來，不僅截取了社會的注目眼光，更具備了花藝理論、評論、報導者與參與者的認同。質言之，歷經地域空間轉換、生活經驗體現及文化作用溶匯的「中華花藝」，已與臺灣的本土結構、經驗結合，成為時代的體踐者。因此，在臺灣多元融合的文化背景下，她正以一個多元文化的總體，透過臺灣混雜的族群及花卉的運用，開創出異於東洋矜持嚴謹、西洋量化形式的花藝張本，其「臺灣花藝主體性落實」的時代意涵亦不言可喻。
The objectives are discussing the establishment of ＂Chinese Floral Art Foundation (CFAF)＂ by the structural history of the Taiwanese flora arrangement as well as investigating the internal elements of the organization through its performance. By implementing the literary research and in-depth interview, the author discovered that in the period of Japanese colonization, female education and social atmosphere has grounded the basis of the development of Taiwan modern flora arts which demand proportion and form. After WWII, the exchange exhibition and activities between school education and private flora arts classroom have became the ongoing force to sustain Taiwan's Ikebana. At the end of 1970s, by directly learning and communication with the west, flora design was independently shown and the Taiwanese flora art was firstly changed. The western style marked a new epoch of the style of expression, focusing on color, volume, geometrical model, and changed the model of flora arts and had a significant impact on the leading status of Taiwanese Ikebana. During the period of Chinese Culture Restoration Movement, several floral renaissance activities were launched. ＂Chinese Women's Orchid Flora Club＂ firstly completed the mission of restoration of traditional flora arts in the ＂Exhibition of Chinese Classic Flora Arts.＂ Then, Huang Young-Chuan not only constructed the intrinsic basis of flora arts based on its cultural texts but also established ＂CFAF＂. The organization built systematic form, structure and iconic meaning of the Taiwanese flora art through traditional cultural restoration. The establishment of CFAF represented both the distinction between Ikebana and the western flora design and the reconstruction of conventional culture. After the establishment of ＂CFAF,＂ the publics, academics, critics, reporter and participants have been supportive. The foundation has functioned as a practitioner of localizing the Taiwanese culture, experience, and characteristics, even though it has encountered the change of geographical, timing and cultural factors. Under such multicultural context, CFAF formed a new chapter of Taiwanese flora arrangement which is differed from western and Japanese style. Thus, the importance of practicing ＂the subjectivity of Taiwanese Flora Art＂ can be illustrated. |
