偶形我述─戲偶、面具、人性觀

以「戲偶系列」作為論述內容，關於2001年至2005年間的版畫作品。第一章，概述選擇掌中戲作為創作主軸的遠因和創作版畫的學習經驗，學習多元探索的襟懷，也試著梳理自身的創作根源。第二章，「偶形我述」是本篇論述的重點，包含戲偶的意象、臉譜的象徵內涵、面具和另一種「擬真」面具的人性寫照，也呼應「人格面具」的隱喻底蘊。第三章，試著從自我辯證的創作實踐，以闡明個人的創作理念；從具象寫實、平面化造形、色彩抽離和超越現實的聯結，透過戲偶的傀儡形象，假託「面具」以表達內心不安的心緒和哀愁。第四章，版畫的完成，需仰賴技法的支撐，要對技法、質地表現的高度自覺，貼近「技道兩進」的涵養；善用版材的本有，覺知其所潛藏的能量。第五章，一切描繪都與戲偶息息相關，意在牽引出豐厚的意象。也檢視自身的創作軌跡和表現，從中回溯、反省和深入種種改變。

關鍵字

戲偶；面具；人性觀

並列摘要

This thesis is concerning my works “Taiwanese Palm Puppet Series”, the prints during 2001-5. Chapter One briefly describes the original causes to select the Palm Puppet Show as the main theme of creation, the learning experience in the prints creation, the necessary mentality in learning multi-directional exploration, and trying to put self creation origins into order. Chapter Two, “Print Creation based on the Figures of Taiwanese Palm Puppet” is the focus point of this thesis. It contains the imagery of the puppets, the symbolic connotative senses of the masks, human nature portrait from one mask to another “quasi-real” mask, and reflections on the metaphor of “Personality Mask” as well. Chapter Three tries to explore personal creation ideas through the creation accomplishment of self-dialectics; from the connections among concrete literalism, plane sculpt, color extraction and surpassing reality, and with the dummy image of Palm Puppet, the restless feeling and sadness was expressed through the mask Chapter Four, the completion of prints is depending on the support of techniques, highly self-conscious to the quality expression of the techniques, ability near “technique and art progressing together”, mastering in the self-owns of the print material, and awareness of the potential energy. Chapter Five, all descriptions are closely related and connected to the palm puppets. It intends to induce copious images, examine self-own creation tracks and outcomes, and recall, introspect and probe the various changes