顯與隱的對話
—林賢俊的抽象繪畫探討

「顯與隱的對話—林賢俊的抽象繪畫探討」主要是由對比、對話的方式，來探討現象的形與現象的變化。在中國文人畫的美學理論中，有一個文人畫的基本情調，是對於「隱」的想望，「隱」這個字集合了傳統上知識分子對於現實的逃避與想像，而相對於「隱」這個字來說，真正說不出口的，是對於「顯」的追求，「顯」與「隱」兩者是具有相對立場的對比名詞。我們由邏輯上可以檢驗出來，沒有「顯」作為基礎，「隱」是不具有取法的標準，相對的若沒有「隱」的退讓，則「顯」就無法表達呈現出來。這兩個字其實是現象的同一個名詞，它是相互含混的狀況，並且無法分隔開來的情況，它們彼此之間也具有相互屬有的個性。但是在文人畫的情調中，「隱」的氛圍是被刻意的渲染誇張開來，「隱」對於自然的擁抱所呈現的美感，對比了「顯」對自然的失能。這也是現象的開顯與遮蔽，造形的對立與消解相互含混並且彼此相對的地方。在論述的第一章主要經由個人的生命經驗談起自己對於現象的理解和看法，也提到個人與外在世界的矛盾，及彼此矛盾對立的雙方，它們所理解的對方，對現象的理解認知是如何的不同，但又同時存在於同一個時空中，這種種看起來近似謬誤的現象。第二章談到自己如何將這些認知與體會應用在抽象繪畫上，如何將這些理解和情感視覺化的探討，以及在抽象繪畫的核心價值中，藝術家對於心靈真實的追求所作的努力。第三章是以現象所呈現的二元對立現象來看形式的意義。第四章是以圖像造形來談「顯」與「隱」的對話，其實是使用線條的象徵和書寫的隱喻造成一種駁雜與含混，直白的說法就是創造一個不易辨識、不能歸類的形。第五章是以自己的作品來談對比與對話的關係。在論述裡有許多對創作動機的表達與形式的討論，都以交叉並陳的方式呈現。試圖透過這種對於創作的描述，探索抽象語言心靈轉換的密碼。

關鍵字

顯、隱、對話

並列摘要

“The Dialogue between Presence and Absence” explores the form and the transformation of phenomenon through contrast and comparison. According to the aesthetic theories of Chinese literati painting, these paintings by scholar-artists reflect an inner yearning for reclusion. The Chinese word “yin” (“absence”) represents the traditional intellectuals’ imagination and escape from the reality, however, what leaves unsaid is the pursuit of presence in contrast to absence. “Xian”(“presence”) and “yin”(“absence”) are antonyms of each other. Logically speaking, “absence” cannot be defined without the comparison of “presence”; similarly, “presence” cannot be revealed without the retreat of “absence”. The two words in fact refer to two dimensions of the same phenomenon, intermingling and belonging to each other, definitely interdependent and inseparable. The mood for “absence” is usually highlighted elaborately in the Chinese literati painting. While the beauty of Nature is perfectly embraced and conveyed through the use of “absence”, the technique of “presence” fails to interpret the grandeur of the landscape. The juxtaposition of “presence” and “absence” thus renders the concealing and uncovering of phenomenon, as well as the contrast and dissolution of forms. Chapter One discusses my understanding of phenomenon through personal experiences. I suggest the contradiction between individual and external world, and the seemingly ridiculous phenomenon of two ambivalent points of view coexist in the same tempro-spatial domain. Chapter Two describes how I apply my understandings and experiences to abstract painting, including the visualization of personal feelings and the efforts in the pursuit of mental reality, which is considered as the core value of abstract painting. Chapter Three investigates the meaning of forms with respect to dualistic phenomenon. Chapter Four presents the dialogue between presence and absence through the discussion of image. I use symbolic lines and metaphoric writing to create certain ambiguity and fusion, or an unidentifiable, unclassified form, in a more straightforward sense. Chapter Five analyzes the interrelationship between contrast and dialogue through my own work. In this thesis, the account of artistic motivation are cross-referenced to the discussion of forms, to further examine how mental images are interpreted as abstract visual languages.