烏托邦與桃花源—汪逸創作理念論述

本篇論文系以烏托邦與桃花源兩條線索梳理創作理念之論述，共分為五個章節。第一章緒論中介紹了創作者（筆者）之背景以及創作中對於跨文化溝通以及水墨美感追求的來源。第二章引入烏托邦的概念，梳理了其理想鄉起源，與資本主義、人文主義的關係，與馬克思主義及社會主義的關係，布洛赫的烏托邦精神，反烏托邦文學，歷史終結論，知識分子在其中的作用，新自由主義的問題以及數位革命後的伊托邦等發展歷程。最後例舉了阿布拉莫維奇、黃永砅、Shimon Attie三位藝術家作為案例分析。第三章則梳理了桃花源概念的發展，《桃花源記》的故事來源及時代背景，陶淵明的隱士形象，桃花源的三種意象：仙境、人間、隱逸，列舉了李子柒和董小蕙兩位藝術家作為案例分析後，將烏托邦與桃花源進行了對比。第四章介紹了筆者對於「創作」概念本身的萌發契機，在創作過程中思索探究的過程，以及單獨作品的分析。第五章節則為結論以及未來展望。

關鍵字

烏托邦；桃花源；創作；裝置藝術；水墨

並列摘要

This thesis is organized under two main concepts: Utopia and the Land of Peach Blossom, in order to provide a structure for analyzing Yi Wang’s work of art. This thesis is divided into five chapters. Chapter 1 introduces the cultural and artistic background of the author/ artist and also explains the origins of her interests toward intercultural communication and pursuit of aesthetics of ink. Chapter 2 discusses a brief lineage on which the concept of Utopia has developed chronologically. It introduces the origin of Utopia, its role in relation to Capitalism, Humanism, Marxism, Socialism, the Spirit of Utopia by Bloch, Dystopia, the End of History, intellectuals, Neo-liberalism, and E-topia after the Digital Evolution. At the end, Marina Abramović, Huang Yongping and Shimon Attie are introduced as example artists under this concept. Chapter 3 illustrates the development of the concept of the Land of Peach Blossom, from the origin of the story, the era when the author Tao Yuanming lived and his hermit character depicted by later literature and paintings. It also explains the three aspects of the Land of Peach Blossoms: as wonderland, mundane land and place of seclusion. The two case studies are Li Ziqi and Dong Xiaohui. Chapter 4 introduces the process in which the author/ artist has developed her work of art, and each piece is analyzed separately. Chapter 5 is a short conclusion and prospect of her future work.