| Summary: | 博士 === 國立臺灣師範大學 === 美術學系 === 99 === In the global postmodern world, transcultural approaches will be an important tool, it allows us to redefine the definition of Visual culture into irregular, and non-linear things. Non-western visual cultural research especially should use an active and fluid method when dealing with culture, and going on neither in traditional nor in pure western point of view. This concept was described by the Cuban critic Fernandi Ortiz as "transculture".
This research is intended to study how the development of modern art to be influenced by "Primitivism" and "Orientalism", from the evolution of transculture dialectic between Western and non-Western world, before and after the 1980s. In particular, the savage mind and the turnover of Orientalism on non-Western modern artists for the inspiration, and examples, after the 1980s, has gradually evolved into non-Western "transcultural" basic spirit and main strategy. While the Chinese modern artist's performance in trans-cultural alternative---"Zen", i.e. new Orientalism or Trans-Orientalism, whether it is at the core of Chinese contemporary art in the development of a viable third way?
The methodology takes on archive analysis, new historicism, art field critical theory, post-colonial discourse and Mittler critic model. The framework, starts with the basic spirit of the transcultural approach, examining the transformation of Primitivism and the turnover of Orientalism, and then discussing on the real situation of Western and non-Western transcultural dialectical by cases, such as "from the old to the new Congo’s transcultural evolution", "the Mexican mural movement relocation" and "Asian-American artist's trans-cultural examples of dialectical".
At the same time successful examples of alternative representation, such as: Russian region by "wild thinking of alternative development", the Latin American region by "surrealism of alternative development", the Arab region by "new Orientalism – legend and reality" and East-South Asia region by “The Indian Way—Finders and Keepers”, "Trans-Orientalism and the Japan effect in East-Western art exchanges ", explore the effect of non-Western modern art trans-cultural development scenarios and features, and talk about their faces of different topics before and after the 80 's.
Finally, in addition to the analysis of Chinese modern art trans-cultural origin and type of development and, in conclusion, from non-Western modern art trans-cultural evolution, how its effect and inspiration to the development of Taiwan contemporary art, comes to eight. At the same time to 2008 and 2009 Visual art exhibitions in Taiwan, revealed that the symptoms of interdisciplinary and trans-cultural tendencies, as corroboration.
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