童顏凝視—劉秀庭繪畫創作研究

摘要筆者身在手足眾多的家庭，隨著兄弟姊妹結婚後，新生命一個個誕生，因此能有頗長一段時間與幼童們互動，感動於幼童的純真與善良，驚訝幼童的創意與學習潛力，可愛的童顏所展現的喜怒哀樂，更激發了筆者沉寂許久的創作動機。兒童的心靈世界具有天生自然最純粹、無垢、潔淨的特質，兒童的認知與行為表現往往是一種主觀直覺的自然反應，沒有複雜思慮因素干擾，如此種種深深為筆者所欣賞喜愛。藉由對兒童心理與人格成長概念的研讀思考，透過對兒童日常生活行為的觀察審視，筆者探究兒童圖像的發展，加上個人的創作理念、意象，期望能描繪出兒童成長過程中的內在世界。除了藉由童顏畫作展現兒童的個人特質、天真可愛、童年生活的快樂滿足、兒童的心靈意象變化外，期能關注到兒童人文，並藉由投入兒童肖像創作梳理自我的生命經驗，安頓自我的生命價值。論述的架構如下：第一章緒論：說明創作動機與研究目的，並對研究範圍方法做論述及說明。第二章創作理論基礎：針對近代藝術家的兒童圖像創作、肖像畫、凝視概念、拉岡的鏡像階段，做出學理上的論述、探究與評析。第三章創作理念與實踐：為使創作理念得到完全舒展，研究蒙特梭利的兒童心理學和佛洛依德的人格心理學論述；另敘述個人創作之思想內涵，並探討創作過程中遭遇的問題與困難。第四章創作內容形式媒材技法：說明創作的形式內容、使用媒材與技法探究。第五章作品分析：對兩個系列的作品所表達的創作理念、形式、內容做說明。第六章結論：總結此次創作實踐與研究的心得，並提出對未來的期許。

關鍵字

兒童；肖像畫；鏡像階段；凝視

並列摘要

The motivation of this dissertation is majorly derived from the author’s affection toward her young family members. Through long-term ingenuous interaction with the author’s nieces and nephews, the innocent, natural, and naïve smiles, intriguing imagination and surprising learning capacity have significantly amazed the author and progressively awakens the author’s impulse for creating portraits of children. The soul world of children appears to be so inherently pure and untainted that their perception and behavior tend to be direct responses to the outer world, all of which are profoundly appreciated and loved by the author. By carefully and consistently observing children’s daily behavior and facial expressions, combined with theories about children psychology and character development, the dissertation intends to capture the most valuable innocence, content, and happiness of childhood and keep them immortal. What’s most unexpected is that through the deliberation of children’s characteristics and the changes of their soul imagery, a latent self-fulfillment in this individual artwork creation seems to emerge. The following are the major structures of the discourse. Chapter One deals with the motivation for the artwork creation and the purpose of the research, inclusive of the statement and explanation of the research range. Chapter Two contains comments and reviews of some contemporary artists who also focus their care and imagination on children’s portraits, such as the works of Mary Cassatt, Margaret Keane, Yoshitomo Nara, and Liu. Jacques Lacan’s Mirror Stage concept is also theoretically discussed in this chapter. Chapter Three manifests the ideas of the artwork creation and the process of their realization. To have all the creation ideas fully developed, Maria Montessori’s Children Psychology and Sigmund Freud’s Character Psychology are explored and analytically applied on the overall art work creation in this dissertation. Likewise, individual interpretation of art and problems met in the process of creation of children’s portraits are also discussed here. Chapter Four explains the painting skills, strategies and materials applied in all the children’s portraits exclusively created in the dissertation. Chapter Five provides the analysis of all the 18 portraits, roughly categorized into two series, and the concepts they are trying to convey. Chapter Six is the conclusion of the entire acquisition of ideas, thoughts, innovation, and inspiration gained from conducting this research, including expectations for the promising future of art and humanity.