虛幻．空靈．意識流－從抽象繪畫與東方書法藝術的精神性探索自我的創作

Illusion-Emptiness-Stream of Consciousness Spiritual Exploration of Creation: Perspectives of Abstract Painting and Oriental Calligraphy

黃士峰(Shih-Fung Huang)

指導教授 ： 李朝進

長榮大學/人文社會學院/美術系(所)/碩士(2010年)

https://doi.org/10.6833/CJCU.2010.00178

摘要

本研究從筆者自身的生命出發，面向過往的遭遇與所面臨的外在現象，加上筆者自身對於未來的「未知」與「茫然」，從其感悟到生命的一切現象，似被一種「虛幻」的力量指使著－這樣的感悟使得筆者承受了諸多負面情緒的壓抑。筆者藉助抽象繪畫的表現進行審美創造活動，在形式上選擇東方書法藝術的精神性與西方抽象繪畫的表達加以融合於創作之中，並且表現出具有禪宗思想的「空靈」意蘊的繪畫意境。這是由負面情緒出發，透過禪宗思想的啟發與指引，將其原本的壓抑情緒擺脫，以達到解放外在現實的精神超越。「空靈」是禪宗一種特殊的「審美型態」，它主張真實地面對現實生活的一切，並且去領悟現實世界之中那永恆、空寂的本體－這就是所謂禪悟的本質。透過禪宗這種特殊的「禪悟」，使得筆者心境不再憂傷、焦灼、壓抑，從而得到精神上解脫與自由，並予人處於一種平靜、恬適之中；了悟生命的意義，獲得一種形而上的愉悅。然而，筆者在繪畫上所要呈現的終極境界，亦是禪宗的超脫一切現實又回歸現實的「空靈」境界－從「空」之中把握「靈有」；是人性的本明；是想像空靈；是一種無念、無相、無住理念的實踐與體現。將個人意識、中西方哲學思維、審美活動與繪畫創作合流，則貼近一種體現人類生命意象的完整方式。

關鍵字

虛幻 ； 空靈 ； 意識流 ； 繪畫

並列摘要

This study begins with the life of the author. Facing things happened in the past and phenomena out there, along with the “uncertainty” and “ignorance” of future, the phenomena of life is realized, as though being manipulated by a kind of “illusive” power, and the author has suffered much stress from the negative emotions arising from the realization.

The author engages in atheistic creation activities with the expressions of abstract paintings. In terms of form, he integrates the spirit of Oriental calligraphy with the expressions of Western abstract paintings to present the “emptiness” thoughts in Zen. Beginning with negative emotions, through the inspiration and guidance of Zen thoughts, the author extricates himself from the originally oppressive emotions and spiritually releases from reality. “Emptiness” is an “aesthetic state” in Zen, suggesting one to faithfully face everything in real life and to realize the eternal and empty subject in the real world. This is the nature of realization in Zen. With such kind of realization, the author does not feel sad, hurt and oppressive anymore. He realizes spiritual release and freedom and is in a kind of serenity and peace. Recognizing the meaning of life, a kind of metaphysical pleasure arises. However, the ultimate state that the author presents in paintings is the “emptiness” of Zen that has return to reality after ridding reality: from “emptiness” to “spiritual possession”. This is the nature of humanity, the emptiness of imagination, and the realization and experience of non-thought, nom-form and non-obsession. By integrating personal consciousness, Oriental and Western philosophical thinking, aesthetic activities and painting creation, a complete approach for presenting the image of meanings in human life is realized.

並列關鍵字

illusion ； emptiness ； stream of consciousness ； painting

參考文獻

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一、中文專書

1. 中國藝術家大隨筆編委會編。《中國藝術家大隨筆：書法藝術家卷》。鄭州：中原農民出版社。1999。

2. 孔新苗、張萍。《中西美術比較》。濟南：山東畫報出版社。2002（初版二刷）。

3. 王壯為。《書法研究》。台北市：台北商務印書館。1992。