「場域」與表現：繪畫中的權力關係

本文旨在研究繪畫場域中的權力關係。場域是來自布赫迪厄，以社會學的概念切入藝術問題。由此討論筆者的創作，探索繪畫表達給出的權力關係。權力關係是畫面組成因素的階層結構。也可以被理解為畫家在繪畫過程的考量，也就是畫家在視覺經驗、空間認知（透視表達）與油彩表現之間的多重交鋒決定畫面。本研究的三個章節，分析了繪畫場域的組成。〈繪畫與場域〉藉由作品例子與理論文獻揭示畫面語言結構的可能性，由此改變筆者先前將畫面作為窗框的認知；〈場域與繪畫創作〉討論筆者繪畫中的權力關係，包含畫面形成的語言結構以及繪畫過程在不同面向間的權力交鋒；〈畫面與經營〉分析作品畫面的階層關係，勾勒筆者創作重心的轉變。研究發現場域的權力關係是畫家配置畫面的句法，由筆法、色彩、造型、肌理質感、透視法、空間圖式等繪畫元素構成。當設定再現場景成為最高位階時，再現的油彩表達形成統合的空間形式。相對的，當油彩肌理展現自身物理特性成為經營重心，此時再現效果退位，取而代之的是媒材痕跡的顯現。除了上述兩者，這之間還有許多畫家想像空間的可能。筆者由此發現畫面經營重心的移轉，繪畫表達由特定的圖式轉變為有待實驗的場域。場域的創作成為可更新的狀態。

關鍵字

場域；權力關係；繪畫肌理；再現；透視法；表現；多重交鋒

並列摘要

This thesis pinpoints the power relations in the field of painting. “Field” is a concept borrowed from Pierre Bourdieu (1930-2002), the sociological view of which opens up a review of art. This concept provides a perspective, which focuses on the power relations in my paintings. Power relation could be understood as the hierarchical structure of the elements that compose a picture. It could also be understood as the painter’s main concern during the making, which is his or her sorting of optical experiences, spatial cognition, and the textural effects. The three chapters in this thesis analyze the factors in the field of painting. ‘Painting and Field’ explores the possible forms of pictorial language presented in oeuvres and theoretical texts. This part of the thesis shows a transformation of my understanding: the picture as a mere view from a window frame is proved to be obsolete. ‘Field and the Making of Painting’ elaborates on the power relations created in my works. The structure of expression and the interplay of different factors during the making, are both discussed. ‘Picture and arrangement’ analyzes the hierarchical relations in my paintings, which points out the transformation of my work. The study concludes that the power relation of field is a syntactical structure of a picture, arranged by the painter, composed of elements such as strokes, colors, shape, texture, perspective, spatial schemata. When representing a scene is the priority, the representational effect of the media will thus create a unified form of space. On the contrary, when manifesting the texture itself becomes the focusing point, the representational effect thus yields its position, while the grain of the pigment reveals itself. Besides of the two cases above, there remains various possibilities of the painter’s picturing of a space. The transformation of my work is thus uncovered: pictorial space shifts from specific schemas to the ongoing creation of field. The making of field is a renewing process.