亂世美學中的死亡與重生意象探討

本論文從近代的平安盛世往前回溯近千年，來到所謂的｢亂世｣，討論受當時的美學樣貌影響的藝術創作與伴隨而至的內心生死感受。第一章「緒論」,第一節:「創作動機」敘述北宋末年這個亂世以及筆者受到那個時代的美學中的生死意涵啟發.開始探究創作熱情的源頭-宋徽宗的《穠芳詩》。筆者對於擁有兩面評價的人格特質的徽宗所具有的高度好奇心。他所發揚光大之書體-瘦金體深深影響筆者在西畫創作中融入中國書法線條之美與花卉。第二節「創作目的」：詳述筆者欲將瘦金體結合現代繪畫的應用，模擬新樣式的繪畫之可能性，提升殯葬美學，以及建構開創性的現代花卉畫。來自於自身面臨死亡威脅的經驗促成筆者在亂世美學中得到共鳴。第二章-學理基礎探討開始逐步分析論述，由東方生死美學與宋徽宗瘦金體書法之美講起。第三章論述｢亂世美學｣並探討穠芳詩其中蘊含的死亡意象。而非亂世美學-克萊爾•巴斯勒作品研究是一個反向思考。第四章-創作理念。分析《穠芳詩系列》的生死意象與作品的構圖、色彩、內容。以及藝術商業化的實作和實驗性的演練。另外還包括創作時所遭遇的困難；審視已存在之論述，思考問題之所在。筆者在第五章-結論-總結創作的心得,並從藝術作品中找到面臨死亡的恐懼與面對生命的禮讚。同時歸納出對亂世美學的觀感以及藝術與亂世或非亂世的關聯性。

關鍵字

穠芳詩；宋徽宗；亂世美學

並列摘要

This thesis explores the contemporary era of peace and prosperity then traces back to nearly a thousand years ago, to the historic period called “Chaos”, This paper discusses the artworks that accompany the feeling of death that influenced by the aesthetic appearance at the time. . Chapter I - Introduction Section I : " The Motives for Creativity" describes this troubled chaotic period in the late Northern Song Dynasty, The author was inspired by the imagery of life and death in the aesthetics of that era. Let’s begin with the exploration of the source of creative passion during Emperor Song Huizong's time - the “Nong Fang poem".The author is highly intrigued by the emblem of the personality traits with the two opposite sides of appraisal. The author was inspired by it and strived to combine the beauty of the Chinese calligraphy and the style of floral painting from that ear. Section II:”Purpose of Creation": A detailed application of the author's desire to combine Shou-Jin style calligraphy with modern painting. author tried to create the new style of painting in order to enhance the funeral aesthetics , and to explore the structure of the modern floral paintings . The aesthetics of chaos resonated strongly with the author’s own near death experience and the fear of it. Chapter II - The Theoretical basis The theoretical basis of the discussion started with the analysis and discussion on the aesthetics of the Asian perspective of life and death and the beauty of Song Huizong's calligraphy style. Chapter III - The Aesthetic of Chaos This chapter discussed the aesthetic of chaos and probed into the death images contained in Nong Fang poems. The author further explored the study of Non-Chaotic aesthetics - Clare Basler’s study provided an oppositional point of view. Chapter IV - Creative Ideas The author analyzed the images of life and death and the composition of the works in the series of Nong Fang poems, color , content as well as the practical and experimental exercises of the commercialization of art. It also included the difficulties encountered in creation, examining the existing discourse and thinking about the problem. Chapter V - Conclusion The author summarized the experience of art creation and derived from the study of the artwork, she turned her fear of death into the celebration of life. This chapter summed up the perception of the aesthetics of chaos and the relationship between art and chaos or non-chaos, as well as the direction of the author's future creation