柯林悟表現論對架上繪畫的啟示與實踐：一個法官的創作美學

架上繪畫不僅具有豐富無比的色彩與強烈的視覺衝擊力、感染力，更饒富啟發人心的功效。從文藝復興時期之後，架上繪畫就成為西方國家獨占鰲頭、對世界藝術最具影響力的繪畫形式。直到上一世紀，新媒體藝術的興起與拓展，使得架上繪畫從藝術的主流形式轉變為多元形式的其中一元，架上繪畫的優勢地位，開始受到挑戰。觀念藝術的興起，對架上繪畫更是致命的一擊。然而，繪畫畢竟是「一切藝術之母」，也是當代藝術表現不可廢除的原型，即使｢繪畫已死」的喧鬧聲始終如四面楚歌，歷史並沒有沿著這樣的思路發展。筆者認為，有社會就有美的需求；只要社會有美的需求，架上繪畫就有無垠的存活空間。但時代不斷變化，架上繪畫若要立足於當代，必須進行變革，尋找更大的突破。在觀念藝術衝擊下的架上繪畫是否仍有發展可能？如何可能？能否有一種介質讓架上繪畫再現生機，這個介質會是什麼？本論文先從理論上探討，尋求一種可能與途徑，嘗試透過藝術理論與表達意象的均衡對話，使論文能與創作形成有機整合。藉由對自己的創作與創作歷程、情境剖析，彙整生活的美學經驗，並融入筆者從事審判三十年的歷練，進而形成自己的理念與風格，進行創作的自我探究、省思與策進。

關鍵字

藍色覺思；架上繪畫；觀念藝術；表現主義美學；正義

並列摘要

Easel painting involves extremely rich colours and conveys powerful visual impact. It not only is appealing to viewers, but also functions as an inspiration to people. Around the Renaissance period, easel painting became the major painting technique in Western countries and has been the most influential art form throughout the world since. However, with the emergence and expansion of new media art during the last century, easel painting has merged with new media art to become one of the multiple art forms. The dominant position of easel painting begins to be challenged; furthermore, it takes a fatal blow from the rise of conceptual art. While some artists declare that the “painting is dead”, this statement has neither received much advocates, nor has the flow of the history diverted towards this direction. After all, painting is the mother of all art and the indispensable prototype of contemporary artistic expression. This thesis argues that where there is a society, there is a need for art. The easel painting will exist in eternity as long as the society requires beauty and art. Nonetheless, easel painting calls for a disruptive innovation to maintain its existence in the contemporary society, which is constantly evolving. Thus, several questions appear in this thesis: will there still be territories for easel painting to expand under the impact of conceptual art? How could it be done? Will there be a medium which gives rise to the revival of easel painting, and what kind of medium would it be? This thesis adopts the document analysis method. First, different researches are explored and relevant theories are discussed to seek for possible solutions. Then, this thesis attempts to build a bridge between art theories and the imagery of expressions in order to integrate the theoretical content and the creation. Lastly, this thesis incorporates the author’s thirty-year-experience as a judge with the process, analysis, background of the creation, and the aesthetic experience of life. This integration is transformed into a personal concept and style to evoke the reflection and development of the creativity process.