官方論述下的「他者」：南越「解放」前的繪畫雕塑

The ‘Other’ under the Official Discourse: Paintings and Sculptures in the period around the ‘Liberation’ of South Vietnam

在越南官方的論述中，1975年「解放」前，南越（以西貢為代表）的藝術不合北越之意，因為根據其定義，藝術必須為工農兵服務，展現他們團結合作、抵抗外侮及犧牲奉獻的形象。據此定義，那時南越的藝術工作者是在追求個人或少數人私利，呈現上流社會奢侈浮華、虛榮浪費之習癖，在藝術上幾無實質內涵可言。本文重新檢視當時的繪畫與雕塑，發現不少南越藝術家跟得上時代潮流，學習到國際新知，追求創作上的自由，也有佳作出現。然而，在官方眼中，那個年代的南越藝術可說是越南國家建構的過程中不見容於北越當局的「他者」，南越藝術家們在官方的論述中成了隱形人。本文認為，由於意識型態歧異甚大，南越多數作品是不符北越所需、不合其意，並非一無所有。

 

In the official discourse of modern Vietnam, the art of South Vietnam (especially that of Saigon) before its ‘liberation’ in 1975 is of little interest. For, by definition, art must serve the masses of workers, peasants and soldiers, presenting a positive image of hard work and optimism. According to this definition, in the eyes of North Vietnam, the artists of South Vietnam at that time were generally pursuing their own personal interests, reflecting the luxurious and wasteful habits of high society. This article examines the paintings and sculptures of that time, and finds that some artists of South Vietnam kept up with the trends of the times, quickly learned new international knowledge, pursued free creativity, and produced good works of art. However, in the eyes of the Government, with its focus on nation-building, the above-mentioned art of South Vietnam, is intolerable, being regarded as ‘the other’. Accordingly, it almost becomes invisible one in official discourse. The art of South Vietnam can be said to be in defiance of the authority of North Vietnam, but that does not mean it is without merit.