圖地反轉圖像應用於剪紙藝術創作中之研究

The research of the figure and ground reversible picture applying in paper cutting art creation

宋容姍(Jung-Shan Sung)

指導教授 ： 施令紅老師、林文彥老師

國立臺灣師範大學/藝術學院/美術學系/碩士(2007年)

摘要

本研究旨在探討圖地反轉圖像應用於剪紙藝術中之研究，從認知心理學的範疇瞭解心理學影響人類的認知心理，及視覺心理學中明白視覺轉化成認知的心理過程，再從完形心理學的理論中，更深入探討知覺與視覺認知間的種種關係，以如此的理論基礎，才得以建構出造形圖像的原理原則。
從近幾年的平面設計中，往往可發現一些利用錯視手法產生具有弦外之音的作品，讓觀賞者在順從自己直覺的解讀外，卻發現另有畫中畫的驚豔感受，此種讓觀者時而看見明顯的「圖像／圖」（figure），時而「圖像」隱沒，卻浮現出「背景／地」（ground）的圖地置換能在視覺感受上增添趣味性，往往也因人而異的圖形經驗也會產生第一瞬間不同的知覺反應。
而剪紙藝術，是中國古老哲學中強調陰陽概念的傳統藝術，憑著紅紙、利剪的折疊、刻劃，以一虛一實交替出現的藝術，體現陰陽相依的中國哲學觀，即為剪紙藝術中最精要的地方。此陰陽刻劃的特色，正好是運用「圖」與「地」相互襯托輝映的最好詮釋。
因此，在各方資料與文獻蒐集後，就廣泛的剪紙領域中之婚俗禮儀剪紙部分做深入探討，並以之為創作主題–「婚頭轉像」。由於剪紙藝術在婚禮習俗中的使用甚多，以此為創作主題並作為研究的創作方向。在此將傳統的剪紙技巧賦予現代思維，不論平面或立體的剪紙藝術，都將成為研究者實驗創作的目標，期望能將傳統藝術呈現新的視覺感動。
結合諸多元素與概念在實際創作中其實是有相當難度的，實驗過程中面臨許多問題與限制，但卻也是本研究從理論化為實踐最富挑戰的地方，最後的作品呈現雖不夠完整，但也從中整理出此概念結合所應掌握的各項要點：需克服兼顧兩個概念時的取捨、「連結」概念的使用、兼顧美觀與實用性的困難，加上文字圖像在此概念使用中的考量。

關鍵字

圖地反轉 ； 剪紙藝術 ； 知覺 ； 視知覺 ； 陰陽

並列摘要

The goal in researching is the figure and ground reversible picture applying in paper cutting art creation. Conducting from the Cognition psychology, the Visual psychology, and the Gestalt psychology theory, thus thoroughly discusses the relations between perception and visual cognition. With this basis, the rationale and principle of modeling and image thereafter has been constructed.
Works with overtones through the use of illusion techniques have often seen in recent graphic design. In obedience to explain observers’ intuitive reading, they found another stunning picture-in-picture of the feelings of such observers from time to time to see clearly the figure, and sometimes the figure hides, but come to ground of the replacement plans to add in the visual experience on the interesting, different perception of instant response perception often varies on individual graphic experiences.
Paper-cut, a traditional art in the Chinese ancient philosophy, emphasized the masculine and feminine elements, by reason of the red paper, the advantage cuts folds, and the portray, appears art in turn by an empty reality, manifests Chinese philosophy view which the masculine and feminine elements relies on one another, namely the merits of paper-cut art. This characteristic of engraving the elements of the masculine and feminine, happens to serve as the best annotation in“figure”and“ground”.
Therefore, after in-depth study of paper cutting in the area of Marriage rituals among collected papers and literature, and take it as theme - “marriage image rotation”
As paper-cut art in the wedding customs of the use of many, thus take it as a creative theme for research and creative direction. Entrusts with the modern thought in this the traditional paper-cut skill, whether flat or three-dimensional art of paper cutting, all of which will be the target of creation for researchers, expecting a new moving of vision in traditional art.
Unifying many elements and concepts has the suitable difficulty in the actual creation, questions and limitations in the process of experiment, which is also the most challenging part in putting theory into practice. Incompleteness the work might be, but also sorted out the main points from this integrated concept which should be grasped ; the need to overcome the balance when the two concepts, the use of the concept “link”, the balance of aesthetic and practicability, and the use of text images in this concept

並列關鍵字

figure and ground reversible ； paper cutting art ； perception ； visual perception ； masculine and feminine

參考文獻

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高思聖（2003）。剪紙物件在視覺設計上的實驗研究－以台灣原住民之美為例。國立台灣師範大學美術研究所在職進修碩士論文，未出版，台北市。