重現記憶的時空情感

Reconstruction Emotions of Time and Space from Memory

金玉清(Yu-Ching Chin)

指導教授 ： 董振平

國立臺北藝術大學/美術學院學術論文/美術學系碩士班創作組/碩士(2014年)

https://doi.org/10.6835/TNUA.2014.00267

摘要

追憶往日家屋中，生活點滴所築構的空間意象，進而覺察到自我意識的存在及它與空間的關係。隨著創作的經歷而體悟，轉向更進一步的心靈築構。創作是一種內心活動的投射，而創作的當下，是一種積極開創的力量---當選擇每一個對應形式時，我們都不斷與媒材對話。創作幫助提升心靈，藉由創作與生活的互映對話，單一方面由創生感到驚奇而喜悅，另一方面激發了生活的詩意象。

本論述以追憶童年家屋系列為出發，目的在了解釐清自我創作觀點。隨者不同的階段，我將創作帶入了時間及心靈意象，在我的創作主體中一共分三個階段。並以木凹版為主要創作技法一一的分析。

本論述分為六章:

第一章 說明自我對童年家屋的情感，追尋生命的感動源頭成為我最初的創作動機。
第二章 說明記憶為內在意識的存有與感知的形塑，進一步探討我對回憶的情感與創作上的抒發。
第三章 分析自我創作的第二階段，在本階段以時間為探討的主體。
第四章 探討第三階段的創作思維:覺察自我的存有與生活意象的可能。
第五章 針對作品形式與構圖語彙做分析:理念與技法說明、作品比對。
第六章 結語。

關鍵字

空間意象、童年家屋、木凹版

並列摘要

The existence of self-consciousness and its relationship with space are perceived through reminiscence of the spatial imagery constructed from daily life at home. A sense of enlightenment is achieved through the process of creation and experience, thus strengthening the artist’s spiritual make up. Creation is a reflection of an artist’s inner spiritual activity, and is in itself a positive power of initiation. During the selection of the corresponding form of expression, one is constantly communicating with the media. The interaction and communication between creation and daily life elevate one’s spirituality in terms of the surprise and joy in creation on the one hand and the aesthetics in life inspired during the process on the other.

This piece starts with the recollection of my childhood home with the objective of clarifying my creative point of view. My creations are brought together with time and spiritual imagery as we proceed through the three phases of my main subject of creation. Wood intaglio is delineated and analyzed as the main means and technique for creation.

This piece will be divided into six chapters:

Chapter One Description of my feelings towards my childhood home, and how the quest for the source of emotions in life became my original motive for creation.
Chapter Two Explicates that memory is an existence derived from the sub-conscious and molded by sentiments and delves further into my feelings towards memory and my means of creative expression.
Chapter Three Analysis on the second phase of my creative works with time as the main focus.
Chapter Four Investigates the creative thoughts in the third phase: the discovery of self-existence and the possible imagery of living.
Chapter Five Focuses on the form of creative works and analyzes the composition of images and choice of vocabulary: a contrast between the ideology, the explanation of creative techniques and the final work.
Chapter Six Conclusion

並列關鍵字

Spatial imagery, Childhood home, Wood intaglio

參考文獻

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