心境轉換間的形象塑造

不是由自己的經驗所得到的知識，卻可以常常毫不遲疑地掛在口中的人，到底有著什麼樣的感性？在撰寫本篇創作論述時，我總是會這樣的質疑我自己，在檢視、回顧自己的創作過程，我盡量的誠實以對，而我的說法和普遍的現狀可能格格不入。把想法表現出來並不是全部，作品還呈現著你在當中苦思經營的過程，如果藝術的現狀是多元和包容，那麼當有人說他的創作是存在主義美學的實踐時，難道我不能夠回過頭來講我的天人合一？像我這樣的作品形式，如果用一般的因果論來闡述，我老是覺的接觸不到重心，故在“第一章緒論”中我表明了我的創作是視覺思考模式而不是語言思考模式。 “分析、理解”讓我感覺到我的藝術創作有被空頭理論扼殺的危險，故我對於知識論做為我理解藝術創作的方法感到質疑，“第二章反理性分析”引述了現象學的一些觀點來凸顯許多人對於藝術普遍現狀感到懷疑的事實。「凝神觀照」、「完形」等概念其實在早期的作品就已經存在了，只不過那時我們用的詞是「靠感覺去做」，雖然這種態度在現實的環境影響之下，幾度呈現搖擺，但最後都還是回歸初衷，“第三章直觀的學理基礎”說明什麼是直接朝向事物本身，並以完形心理學的觀點來論證。這是一種觀看方式，也是一種創作思維的學理基礎。 “第四章創作思維與表現形式”為我作品呈現的簡樸形式提出說明，並論證我的創作與東方思維的關聯性。儘管「為藝術而藝術」是已經過時的口號了，但這樣的觀念在我的心中仍然佔據著極重的份量，“第五章結語”講述了“追求藝術本質”這樣一個終極的目標。

關鍵字

心境轉換間

並列摘要

Any person who obtains knowledge not from its own experience but can often speak out from its month very often without hesitation, what kind of sensibility such person has? When I am writing the discussion on this essay, I always query myself. In the course of examining and recalling my own work, I try my best to face it honestly. May be my way of saying and the common present condition are incompatible to express my thinking is not all and the work will still reveal the process when you are thinking hardly on the operation. If the present condition of art is diversified and tolerating, then when somebody says that his work is the practice of existing existentialism aesthetics, is it possible that I can turn my head and talk about my holding communion with nature? For the style of my work like this, if I use general cause and consequence to elaborate, I always feel that I cannot touch on the key point. Therefore in “Chapter 1 Preface” I express clearly that my work is visual pondering mode instead of language pondering mode. “Analysis and understanding” make me feel the danger that my artistic work is being smothered by nominal theory. Therefore I query on using knowledge to discuss as the method to understand art creation. “Chapter 2 Non-Rational Analysis” quotes some viewpoints on phenomenology to manifest the fact that many people are doubtful on the present common condition of art. In fact, the concepts of 「observe with concentration of attention」 and「Gestalt」 had already been existed in the early stage. It is just that words I used at that time was what I did 「based on my feeling」. Although under the influence of the practical environment, this kind of attitude swung a few times but finally it came back to the original intention. “Chapter 3 Theoretical foundation of direct perception ” explains what is directly tending toward the things and matter itself and proof is conducted from the viewpoint of Gestalt psychology. This is a kind of viewing method and is a kind of theoretical thinking of creative work. “Chapter 4 Thinking of creative work and form of expression” presents explanation on the simply form of my work and prove the correlation between my work and oriental thinking. Even though 「to do art because of art」 is already an out-dated slogan, yet in my mind this concept still occupies an extremely large share. “Chapter 5 Conclusion” explains and discusses this kind of ultimate objective.