本研究藉梅洛龐蒂對身體感知的理論,以風景題材的藝術作品進行探討,重新理解在一片風景中的觀看行為。 本論文在第一章點出笛卡兒、牛頓的空間概念限制,並提問:有沒有非主客分離的風景作品?第二章發現唯獨人物造成的阻隔無法擺脫、跨越,所以最後企圖在沒有人的風景畫中,尋找到非主客分離風景作品的可能。第三章,筆者闡釋與整理梅洛龐蒂著作,提出了事件結構與腳本效能的浪潮比喻、生活體驗的視野與存在的動態方式等概念。第四章以三件風景作品印證上述概念。 本研究試圖提出新的風景觀看方式,當代風景觀看以沒有主客分離的觀看方式,以整全的身體感知面對身處的場所與環境。
This thesis, using Merleau-Ponty's theory on perception, explores landscape-related art works and aims to provide new perspectives on viewing the landscape. Chapter one points out the limits of viewing the landscape as set out by Descarte’s and Newton’s theories. There I raise a question: is there such a landscape painting where the viewer and the painted scene are not divided? Chapter two finds out that the painted figures might keep the viewer from the painted scene, and thus turns to some other landscape painting that depicts no human figures. Chapter three tries to interpret Merleau-Ponty's idea about a structure of the event and a virtue peculiar to the scenario、the lived perspective、the active manner of being. Based on the conclusion drawn from chapter three, chapter four illustrates the conclusion with three specific landscape-related art works. This study thus provides new perspectives on viewing the landscape: if we view the landscape representations giving up the idea of the viewer and the painted scene, then we allow our entire body to perceive the landscape as whole and surrounding.