生命歷程中的「收‧放」─楊智淵繪畫創作論述

「收‧放」是兩個極端的概念，可以解釋各種相對與依存關係，具有普遍性，更是形塑構成人生觀的重要依據。本論文以精神分析學中的「自我實現」觀點切入，探討「收‧放」之於人格發展在生命各個階段中的形式與特徵，從自身的童年時的成長經驗進行探索，並從筆者去大陸交換生的經歷中取材整合，重新定義出自己的水墨創作脈絡；藉由東西方藝術史中經典作品的梳理，藉而去佐證自己的藝術觀與價值觀，並闡述自己的品味主張；透過「人格面具」觀點的闡述，導出與人生各個階段「自我實現」的面貌之關係，並以之為自身的創作理論基礎。文中分析了線性素描與水墨的交互作用，並闡述其形態演變，進而找到與「收‧放」應對之相符的創作形式與技法，與活化自身的創作風格。

關鍵字

收放；自我實現；人格面具；水墨；素描；線性

並列摘要

“Manacle and Emancipation” describe two extreme conceptions that cover relative and interdependent relationships. In particular, they are the foundations that shape a person’s philosophy. This study uses a “Self-actualization” psychoanalytic perspective to investigate how “Manacle and Emancipation” impact on the forms and characteristics at each development stage of the personality. The author’s ink painting of venation was redefined by an exploration of childhood; likewise, it integrated the author’s experience as an exchange student in Mainland China. Scholars’ views and values are studied from a number of classical works of eastern and western art history, and further expound the author’s own artistic tastes and statements. Based on the author’s theory of creation, this research is derived from each life stage and aspect of “self-actualization’’ through a “persona” perspective. This paper analyzes the interaction of linear sketching and ink painting, and elaborates its morphological evolution. In addition, corresponding creative styles, techniques of “Manacle and Emancipation” , and self-activated creation styles were then sought out.