心靈、勞動、顯現、存有 ――許俊欽創作論述

Mind、Labor、Phainein、Being ――A Description of Hsu Chun-Chin´s Art Creation

許俊欽(Chun-Chin Hsu)

指導教授 ： 李朝進

長榮大學/人文社會學院/視覺藝術研究所/碩士(2006年)

摘要

眾多的藝術創作者，不外乎皆以真實呈現自我為主要創作理念。藝術創作是為反映創作者主觀心靈感受，是將隱藏在表象內、無法言喻的，透過藝術表現與觀賞者之間，產生一種聯繫；而這聯繫就是創作者所欲表現其內在真實、傳達思緒與想法。把隱藏在藝術作品裡的，顯現於觀賞者欣賞藝術品的聯想中，形成創作者、藝術作品與觀賞者之間的交流互動。

現象學哲學家海德格（Heidegger）認為：人之存在必然「關心或關涉」他人，亦藉由別人的認識，「我」才存在。我的存在並非只是「我思」而已，是須與他人互動、藉由他人的認識，我才能存在他人的認知中。如此，藝術創作是為人與人意識之間的交流，藉由藝術創作將存於心靈底的審美意象「物化」為一實質可見之現實作品；是透過雙手勞動賦予形象，觀賞者再藉由現實性物質、形象臆想創作者精神內涵。其生成在觀賞者心中的意象，實為創作者將「心念」灌注於現實性物質的「顯現」，為一「質變」的過程；藉由物質表象的呈現，「顯現」創作者「心念」，其為精神上的交流、為一「現象」。

是故，藝術創作不論是作為人與人意識間的交流，還是為了在精神上尋求慰藉、滿足，這皆是人的「慾望」。而「慾望」是人之本質性，也因有「慾」我們才想將心靈意識、思維外顯，才藉由各種物質媒材來表現。所以，藝術創作是為一人與人意識之間交流的手段，藝術品乃是傳遞訊息的中介：交流「人」生命的體驗。

在文章結構方面，本文分為五章節，以下作個簡略說明：
第壹章、緒論：包含創作動機與目的、研究方法與脈絡及名詞釋義。
第貳章、文獻探討：蒐集美學、哲學等相關論述，作為創作理念之依據。
第參章、創作理念：是為筆者涉略美學與哲學思潮發展而成的創作觀點，其中又分「質變」、「心念」、「機緣」、「慾望」等四小節。
第肆章、創作實踐：在這章節裡，分為內容與形式兩方面來探討，最後再解析筆者作品，最一歸納與總結。
第伍章、結論：為本次創作研究之心得與省思。

關鍵字

心靈 ； 物化 ； 質變 ； 心念 ； 顯現

並列摘要

Many artistic creators take the genuine presentation of themselves as the major idea of creation. The purpose of artistic creation is to reflect the subjective mental feelings of the creator, to create a connection between the unspeakable things hidden under the image and the appreciators through artistic presentation; this connection is just the genuine feelings and ideas that the creators want to show and transfer. By showing the things hidden in the artworks to the association of thoughts by the appreciators, the interaction between the creators, the artworks and the appreciators is formed.

Phenomenology philosopher Heidegger considers: the existence of a human being is necessarily “concerning or involving” others, i.e., “I” exist by the recognition of others. My existence is not just for “I think”, but for interaction with others, and only by the recognition of others can I exist in the recognition of the others. Therefore, artistic creation is the communication between the consciousnesses of people, or to “materializing” aesthetic imago at the bottom the mind to a substantial realistic artwork through artistic creation; it is to endow the imago with image through labor, and then the appreciators think and assume the spiritual connotation created by the creators. The image produced in the mind of the appreciators is actually the “appearance” of “ideas” of the creators in the form of realistic materials, it is a process of “qualitative change”; The “Phainein” of the creators’ “ideas” through substantial image is a spiritual communication, a “phenomenon”.

Therefore, artistic creation is the “desire” of human being both in term of the communication between the consciousness of different people and the seeking for spiritual comfort and satisfaction. While “desire” is the nature of human being, we express our ideas and mind through various material media just because of the “desire”. Therefore, artistic creation is a instrument for consciousness communication between different people, artworks are media to deliver information: communicating the experience of life of “human being”.

This article consists of 5 chapters. The following is a brief introduction:
Chapter 1 Introduction: motive, purpose, research methods and sequence of creation as well as definition of terms.
Chapter 2 Discussion of documents: collecting related articles of aesthetics and philosophy as proof of creation ideas.
Chapter 3 Concept of creation: the author’s viewpoint on creation developed from the involvement in thoughts of aesthetics and philosophy, which is further divides into 4 sections: “quantitative change”, “idea”, “chance”, “desire”.
Chapter 4 Creation practice: in this chapter, we’ll discuss in aspects of content and form respectively, and at last, give a summary through analysis of the work of the author.
Chapter 5 Conclusion: What we have learned from the study on creation.

並列關鍵字

mind ； materialization ； quantitative change ； idea ； phainein

參考文獻

5. 牟宗三《中國哲學十九講》，台灣學生書局，2002年。

21. 莫詒謀《叔本華的美學原理》，水牛圖書，1995年。

28. 曾長生，《超現實主義藝術》，藝術家，2000年

25. 陳榮華《海德格•「存有與時間」闡釋》，台大出版中心，2003年。

一、中文書籍：