意象之門—吳岱瑾繪畫創作研究

門是人類因應生活環境所發明的產物，隨著時代的推移，有別於建築學專業裡的門，人們開始賦予其各種想像，門不單單只是門，除了跨越和阻隔兩個不同的空間之外，象徵了心理上的各種意境，也主導了被動跟主動的定位。所延伸範圍極廣，幾乎包含了各個領域，像是宗教、心理、文化、建築、藝術。研究主要分為兩大類，門的物質形式；及其精神層面的延伸。物質的形式為單純門的外在樣貌，以實用或美觀的建築美學為主；精神層面的延伸則是個人的觀感和其被賦予的寓意。在作品呈現上亦是如此，筆者以繪畫為主要表現手法，並在以「門的意象」為創作主軸支撐彼此關連性的前提之下，因應每件作品內容來選擇表現手法，不以單一手法呈現，期望達到收放自如、可具象可抽象，讓最終作品在中心思想統一的前提之下，呈現樣貌既多元又附趣味性。

關鍵字

門；時空；意象；超現實；象徵；轉移

並列摘要

Doors are the inventions of humans, a product for humans to adapt the living environment. As time goes by, the meaning for doors under people’s imagination, different from the meaning in architecture, has become more than just a door. Besides being an object that separates two different space, it symbolizes all sorts of artistic conception within the minds, and also conceptualizes passive and proactive in a dominant matter. The area to where it extends is very broad, including fields such as religion, psychology, culture, architect, art, etc. There are two main parts to this research: the material form of doors, and the extended spiritual meaning. The material form is simply the outside appearance of doors, as to its practical use or its appearance in the aesthetics of architecture. The extended spiritual meaning is the subjective impressions and implied meanings of doors. These two impressions of this research are what these art works aim to present. The author uses “The Imagery of Doors” as her theme that connects each art works within the series. To express the content of each work, the author used painting as her main technique of expressions with the assists of different artistic methods. Using more than one techniques for these art works, the author attemps to present a sense of flexibility, which can be realistic or abstract, to present the works in a complex and playful image.