「意象凝鍊．空間分裂」之繪畫研究

整個現代藝術的發展可謂一種「抽象化」的演繹過程，其間形式蛻變不息的表象背後，乃存在著諸多西方傳統人文思想與精神，它的本質中便具備兩種典型的特徵，一是理性文明，一是革新精神。二○世紀前際由塞尚開始書寫現代藝術，從此西方一反文藝復興以來的具象寫實的思維之慣性傳統，走到純形式與現代精神種種探討。所謂「現代繪畫」，無論是蒙德里安循從那種自具象化約到抽象形態的造形，抑或超現實主義主張透過下意識自動表現的造形，本論文不囿任何意識型態，旨在透過西方解構表現的革新精神，尋求一種凝鍊內在意象之法，進而借鑑西方結構邏輯理則來建構個人歸向現代精神性的繪畫空間。本論文第貳章文獻之圖像探討與分析，將從歷史途徑切入探究現代藝術相關創作研究範疇，循序尋找抽象繪畫系統的脈絡至其合流表現的形式風格，揭示該形式風格的綜合成果和本創作形式表現之關係後，才進到繪畫空間之系統形式並討論符號的體系性涵意。最後藉相關美學理論再行深入其創作形式背後，客觀檢視自我之藝術思想層面，以助透視藝術形式同繪畫生命表現的深層連結的關係。第參章解說個人創作的繪畫理念內涵及其表現。先行指出本研究創作擺置於「精神性意味」立場之形式探索方向，以訴求創作直接切入「深度」層次，並演繹本創作繪畫空間背後所歷經之起／承／轉／合的形而上意涵。次則說明本繪畫創作藉由內化之自由意象表現性，以斷片化、心象的錯置（「空間分裂」）及其反向的凝鍊化表現（「自體成形」），進行意象空間的造形新域探測，以竟畫境情節開展無限性之「廣度」。末則以音樂性的形式內涵來進一步類比，詮釋本創作繪畫空間體系所思維的「結構性」、「運動性」到「張力」等「形式」基本要素的結構力動運作原則的概念，進而歸結以「氣」的間質作用表現同心「靈」狀態產生合流，令上述形式體系能以「直接性」途徑喚發創作狀態的「整體性表現力」，以獲致一以貫之且一體成型的「生命形式」，以求繪畫表現貼合創作心靈活動而重歸於自性抒情的自如書寫之中。最後，並圖示說明理念的實踐，經創作統整過程再歸納出三個向度之「生命表現」概念。第肆章創作解析。首先概略陳述本創作步驟形成一種有機性演繹節奏的歷程；其次介紹主題內容；然後再將「生命形式」體系分析應用與技法解說整合列入表現形式內涵，最後再將七件主要創作作品之1、創作理念 2、主題內容 3、形式技法 4、總體表現等分項逐一加以詮釋。（本創作研究形式為非形象風格，類抽象表現，該形式內涵即其學理根據，故將其學理基礎部分納入形式技法部分融會說明。）第伍章結論。研究心得、感想及未來創作期望。回應研究動機、目的及創作理念內涵，並提出研究結果及檢視自我藝術血源與文化背景的影響。再來，就未來創作方向，試以描述自我整體性之創作理念思維，並描繪出發展空間。

關鍵字

意象凝鍊；空間分裂；自體成形；解構；異質並置

並列摘要

The development of Modern Art is a deduction toward abstraction. Under those changing formats of art are the traditional thoughts and spirits of western humanism. Their nature has two typical characteristics. One is rational civilization, another is revolutionary spirit. Cezanne is the one who led the trend of Modern Art in the early 20th century. From then, western artists threw away the tradition to paint realistically since the Renaissance, and started the studies and creations of formalism and modern spirit. The dissertation is not limited by any ideology. It tries to find a way of refined intrinsic imagination by the revolutionary spirit of western deconstructionism, and furthermore explore a way of personal painting toward modern spiritual space by the method of western constructional logical thoughts. There are five chapters in the paper as following: Chapter 1 Introduction: it includes the writer’s motivation and purpose, scope and limitation﹐and the methods and steps of the research. Chapter 2 Basis of theory: from historical viewpoint, it will explore the domain of studies that related to Modern Art. It will find out the track of abstractive painting systems step by step. After illustrating the relationship between the styles of each format’s collective result and its expression of creation, it will discuss about the system’s format of the painting space and symbolic systems. In the end, it will explore further about what behind works by related theories of art. Chapter 3 Concept: it illustrates the ideas and practices of writer’s creations. First, it points out that the study of art follows “significant form toward spirituality” as its main shaft. The works in the paper go to deeper level directly, and the study will explore the philosophy behind them. Then, it expresses this work’s “content” is a free imaginary expression of internalization. In the way, it can get an extensive plot of paints for a broaden area. Furthermore, it explores the nature of the painting’s performance for the goal of reaching the result of “heterotopia apposition”. In next paragraph, it will induce the systems of “the patterns of life” for the painting’s space. In the last paragraph, it illustrates how to realize the expression of each creation. Chapter 4 Annotation of works: first, it illustrates the whole system of the creations. Then it discusses about the themes, formats and skills of each content’s performance. In the end, it annotates 7 pieces of works. Chapter 5 Conclusion: the summary and the future creative direction of this research.