- 學位論文
渦旋造形之象徵意義與其在視覺動勢上的應用創作研究
Creative Research of Spirals' Symbolic Meanings and Their Applications on Visual Movement Design
摘要
渦旋造形是大自然界中充滿神祕性的造形，本研究認為「渦」主要表現於外在形態；諸如螺旋、渦紋、螺紋、輻射對稱等形態。「旋」則是在傳達內在動力，亦就是動勢（Movement）成因；諸如運行軌跡、旋轉力量、迴轉動力等。所以渦旋必須藉由「外在形式」與「內在動力」兩者相互構成。在視覺心理上而言，由於渦旋形態符合人類深層潛意識內的美感圖騰，同時在象徵意義上又具有生生不息、綿延不絕的生命力特質。因此不分古今中外男女老少對此圖案都有特別偏好，本研究共歸納出以下三項結論： （一）在渦旋造形之原始藝術的象徵意義上，本研究共歸納成「天渦、地渦、人渦」三個範疇，其中「天渦」屬於自然天象的範疇，是世界各民族最早欲表現渦旋形態的代表性圖騰，其象徵意義包括；自然力量、藉助神力、延續生命、神話傳說、循環再生、宗教信仰等。「地渦」屬於動物與植物紋的雙重組合，其象徵意義包括；身分地位、生殖繁衍、辟邪除煞、陰陽調和、民族文化、警戒注意等。「人渦」屬於人類思惟意識的空間，其象徵意義包括；意識形態、生命原型、演化繁衍、身體結構、新陳代謝、均衡比例、潛意識等。 （二）在渦旋象徵意義之相關創作理論上，由於該圖像從古至今皆被人類廣泛的使用，渦旋造形的祕密為何？基於創作理論的建構與需求，本研究分別以渦旋造形的思惟空間（神話觀）、意識空間（現象觀）與演化空間（渾沌觀）等相關理論範疇，試圖以古今相對照的方式重新詮釋渦旋造形的象徵與現象，藉以做為畢業創作的題材。 （三）在視覺動勢的應用上，本研究認為渦旋造形如果要發揮到極致，就必須要同時考慮「外在的圖像表現」與「內在的象徵意義」等兩項要素。經由分析可瞭解渦旋造形所能表現的視覺張力與幻想空間其實是非常強的，如果善加運用渦旋符號於海報設計、廣告設計、展示設計等設計上，或許可以造成更強的視覺注目性與記憶性。總而言之，渦旋的視覺語言其實是充滿許多的想像空間，同時也因為造形圖像的設計使其象徵意義更充分的傳達給觀者。
並列摘要
Spiral,Translated into Chinese,Pronounced as “Wo Hsuan”,is a very mysterious design in natural field. There has been found in this study that “Wo” mainly appears in external state such as symmetry of spiral, Wo thread and radiation etc. “Hsuan” transmits the internal power, i.e. movement factor such as movement track, revolving power etc. Therefore, “Wo Hsuan” must be mutually composed of both external state and internal power. To visual psychology, external state of “Wo Hsuan” meets esthetic sense from totem existing in human’s deepest consciousness, and possesses eternal and long-lasting life property on symbolic meaning. Almost all people in the world today or in the past specially prefer this pattern. There are three conclusions finally made in this study as below： (1) It can be concluded into three parts of symbolic meaning in original art of “Wo Hsuan” design. The 1st part – “Tein Wo” belongs to natural celestial phenomena, a representative totem, for each nation that wants to express “Wo Hsuan” external state at the earliest time. Its symbolic meaning covers natural power, mythical legend etc. The 2nd part – “Ti Wo” are double combinations of animal and plant thread which symbolic meanings include reproduction, avoiding evils and exorcism etc. The 3rd part – “Jen Wo” is space of human’s thinking consciousness which symbolic meaning cover consciousness state and evolvement breeding etc. (2) On the related creative theory of “Wo Hsuan” symbolic meaning, as this pattern has been widely applied by human from those old days to today, we do not understand what is the secret of “Wo Hsuan” design. However, based on structure and demand of creative theory, this research is separately conducted by theory points of culture anthropology, mythology and phenomenology etc., and tried to re-interpret symbol and phenomena of “Wo Hsuan” design through contrast manner between the past and the present in order to make it as composition of graduation creation. (3) On application of visual movement, this research is found if “Wo Hsuan” has been developed to the best, two necessary factors – “external pattern performance” and “internal symbolic meaning” must be simultaneously considered. It could be understood that the performance of visual tension and imagination space by analyzing “Wo Hsuan” design is actually very strong. If better applying the “Wo Hsuan” mark to transmit design such as poster design, display design, photographic design and comic strip design etc., more powerful visual attention and memory may be generated. As a whole, visual language of “Wo Hsuan” is completely filled with much imagination space. In addition, because pattern design can make its symbolic meaning transmit to the observers more sufficiently, this research primarily focuses on the poster design as visual performance. We also hope to continue studying of the related territory of transmit design in visual application for “Wo Hsuan” as a reference of design practice.