繫 ‧ 情─平面繪畫題材象徵性與物件間關係研究

臺灣是一個多元文化相容交雜並存的自由國家，島國四面環海的地理特性，加上文化歷史上的演變，讓我們及其容易去接納許許多多不斷輸入的訊息。而藝術創作者對環境的反應是十分靈敏的，往往透過使用各種創作的手法形式來表達自己的理念，或隱喻，或批判，都是體現自己對生活環境的關懷，同時也揭示了藝術與社會變遷間的緊密關係。藝術家期望透過創作的行為來傳達自己的想法，反映自身對環境的感受，進一步將創作具體化表現出根本自我核心存在價值。本創作研究是以筆者生活中栽種的一些仙人掌植栽來做為主要題材，並藉由對創作題材的喜愛與感受進一步探究其造型、色彩並與其他物件元素或是不同場域結合來重新詮釋。第一章在筆者的創作中無論是探討外在表象或內在思想，其最根本的源頭應該在於“我”(也就是創作者本身)這個起點，而存在主義正是從此觀點來構築他們的理論。第二章在創作過程的演進中筆者將此將研究所一系列創作分為一個時期三個階段來探討，用象徵主義的觀點來詮釋及統合筆者創作的題材語彙，並提出超現實主義的寫實表現手法來做為作品表現的外在形式語彙。第三章筆者覺得既然創作關鍵是在藝術家的詮釋上，因此精神上的脈絡是一定會延續的，即使是不同時代也許都會因某些事件而產生創作上的心理共鳴，因此研究靜物圖像的發展脈絡與精神性。第四章筆者就自己創作上的題材、形式及表現作更深入的說明介紹，第五章再加強筆者作品的個別創作理念、環境因素及筆者分析檢討後的結論，第六章為此研究做一個總結的反省與對筆者未來創作的期許。

關鍵字

情感連結；存在主義；象徵主義；超現實主義；寫實主義

並列摘要

Taiwan is a multi-cultural and freedom country . The island surrounded by the sea, involved with compatible culture and history, let us easy to accept many importable messages. By various forms of creative ways, expressing their own ideas, metaphor, or criticism, reflecting his concern for the environment , the artists in Taiwan not only respond to the environment sensitively, but also reveal the esthetic and close relationship. The artists convey their ideas through the creativity , reflecting their own feelings of the environment. Furthermore, the artists express their self-value through the concrete artistic craftsmanship. The motif of the oil paintings comes from some of the cactus the author plants in his daily life. Combined with different shapes, colors, objects, and scenes, the theme of the works interpret the love and feelings to those plants. The first chapter of the author's discussion, "I" (that is, the creator himself) should be the source of the fundamental concept in both of the internal thinking and the external appearance. It turns out from existentialism. In the second chapter, the author separates the evolution of the art works to three periods.Emulated from the surrealism painting, the artist uses the realistic technique of the painting for the external form. The third chapter I feel the keys are always the artist's creative interpretation. The spiritual contexts have certainly continued, even some events from the different ages, generating the common synesthesie. the development of still life images context and spirituality. The chapter forth profoundly contains the introduction of the themes, forms and expression. The fifth chapter the author reinforces individual creative ideas of works, analyzing the environmental factors and the conclusion after the review of the works. The sixth chapter ends with a summary of the reflection from his works and the author's future expectation.

並列關鍵字

Emotional Connection ； Existentialism ； Symbolism ； Surrealism ； Realism

參考文獻

2. 江宜樺著，《台灣社會研究季刊》，〈自由民主體制下的國家認同〉(1997)

12.羅蘭‧巴特(Roland Barthes) 著，許綺玲譯，《明室‧攝影札記》(1997) 台北，台灣攝影工作室

6. 唐‧湯普森(Don Thompson) 著，譚平譯，《身價四億的鯊魚》(2011) 台北，大雁文化

7. Parramon’s Editorial Team著，黃文範譯，蔡明勳校訂，《畫藝百科系列─靜物畫》(1997) 台北，三民書局

9. 賈克‧洪席耶(Jacques Ranciere，1940)著，黃建宏譯，《影像的宿命》(2011) 台北，典藏藝術

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繫 ‧ 情─平面繪畫題材象徵性與物件間關係研究

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