神居何所‧異想─紀冠地彩墨創作論述

身處在看似繁華卻是充滿茫然、汚濁及不確定性的現代，讓人的心總是感覺到疲憊無奈，在這樣無奈的環境中，總想著尋求心靈上的慰藉，如兒童般的奇幻式、夢幻式的想像，則是相當有用的自我療癒方法，也是轉化為藝術創作靈感最好的來源。本創作研究主要是以「藝術想像」為中心概念，自古以來皆有「想像」的審美思維，但因隨著時代背景、社會因素及思想的發展而有所不同，本創作研究論文旨於探討「藝術想像」中的一種—「異想」，以及與之對應的創作手法—「意象構成」介入當代水墨創作的可能性。在論文架構上，分為六個章節來論述，第一章主要在闡明解研究動機、目的、方法與範圍。第二章先就「神」的廣泛意涵與神居何所之「神」定下定義；接著藉閱讀、分析《莊子》、《淮南子》以及劉勰的《文心雕龍》〈神思〉觸及到「藝術想像」的哲學思維等文本脈絡，以了解它與時代關係所做的繼承與改變後，思索「藝術想像」能如何對應當代。第三章依著「藝術想像」的哲學思想，列舉古代先賢符合這樣創作思維的作品，緊接著探索「異想」與「意象構成」創作手法，並加以研究分析當代藝術家的彩墨創作方式及脈絡，以作為借鏡。第四章則回歸筆者自身的創作論述，主要在闡述創作理念、風格分析及創作方法的論述。第五章為論述分析筆者攻讀博士期間代表出的作品。第六章為結論，總結此次研究心得與結果分析，並提出未來的可能發展性方向。

關鍵字

藝術想像；神思；異想；意象構成；當代彩墨

並列摘要

Been engaged in a bustling but confusing, filthy and uncertain modern world, we always feel exhausted and frustrated. The helplessness always makes us explore spiritual comfort, such as childlike fantasy or dreamlike imagination. The exploration is not only a practical healing method but also the best inspiring source of art creation. The core concept of this study is ‘artistic imagination’. From ancient times to the present, aesthetic thinking has invariably mentioned ‘imagination’. However, based on the differences of historical background, social factors and thinking development, the mentioned ‘imagination’ has been presented variably. This study discusses two concepts. One is ‘fantasy’, a category in ‘artistic imagination’. And the other one is the feasibility of ‘image composition’ can be involved in contemporary Chinese painting. ‘Image composition’ is an art creation method corresponding to ‘fantasy’. On discourse, there are six chapters. The first chapter is to clarify research motivation, purposes, methods and scopes. The second chapter is first to define ‘shen’ in Chinese and secondly identify ‘spirit’ in’ the residency of spirit’, the thesis title. Thirdly, through reading and analyzing “Zhuangzi”、”Huainanzi” and ‘ShenSi’ in “WenXinDiaoLong” by Liuxie, ‘artistic imagination’ , a philosophical thinking, can be materialized and possibly incorporated to contemporary art. The third chapter is to exemplify the ancient artists who used ‘artistic imagination’ to create art works. Furthermore, immediately by examining creation methods, ‘fantasy’ and ‘image composition’ in those ancient examples and also by studying present colored ink artists’ creation philosophy, my art metaphysics has been built. The forth chapter comes back to my creation discourse to elaborate creation concepts, style analysis and creation methods. The fifth chapter is to discuss my art works from this dissertation. The last chapter is to conclude research experience and thesis analysis. Thus, my art developing direction is proposed in the end.