無名之境：由繪畫探索無指涉場域之建構－張芯瑀創作論述

本論文以筆者自二零一八年至二零二一年之視覺藝術創作進行陳述與論證，共為五大章節，分別自個人意識如何組構並轉譯為視覺藝術的過程，及畫面的構成、色彩、筆觸等，解析此系列創作的軸心。筆者回溯一系列的創作歷程，梳理自身的理念思想，探究如何從視覺觀察經驗中解離，再構成畫面形式，並進一步自我解讀創作中的視覺語彙，作為本論文之研究形式。　　由第一章節之緒論並講述研究動機與方法說明，並將相關聯之關鍵詞進行釋義；第二章節分析相關學理基礎和研究等，從抽象主義的歷史篇章再到現代抽象藝術創作舉例說明，環扣著視覺藝術的傳遞和表達形式等相關理論；第三章節說明筆者創作理念與表現形式，解釋過往風格轉變的經歷如何變化至今的風格形貌；第四章節將此研究創作劃分三項類別進行細項說明，解析單一作品之理念與製程；第五章節則總論整篇研究的探討成果，進行統整與省思，闡明本研究之未來展望。　　在從事繪畫之初，繪畫型態傾向具象類型的風景，將精神與情感寄託於真實存在的景色畫面中，作為日常之抒發與紀錄；而在碩士三年的研究期間，因工作和生活經驗的累積，影響心境上的轉變，逐漸轉向抽象化的繪畫形式，藉由本論文之闡述，釐清自身的創作形式及其在現代繪畫中的定位與價值。

關鍵字

視覺再現；解構；視覺符號；無指涉

並列摘要

This thesis uses my visual artworks from 2018 to 2021 as a presentation and argument. There are five main chapters, which talk about the process of how I organize and translate my personal thoughts into visual arts, go in depth in the formation, colors, and brushstrokes of the picture, and analyze the core idea behind this series of artworks. As to how this thesis research was conducted, I first looked back upon the different stages in the work process, organized my own ideas and thoughts, explored how to disassociate from the experience of visual observation, and then reconstructed the form of the picture to further self-interpret the visual vocabulary for the work process. Chapter 1 introduces and describes the research motives and methods, and explains the related keywords. Chapter 2 analyzes relevant theoretical foundation and research, giving examples and explanations from historical abstractionism to modern abstract artworks, and linking those to related theories on the transfer and expression of visual arts. Chapter 3 describes the ideas behind the works and the forms of expressions, and explains the experience of the change of style from the past to the present. Chapter 4 divides this research of the works into three categories and explains each in detail, analyzing the concept and production process of a single artwork. Chapter 5 reflects, organizes, and summaries the research results of the study, and expounds on the future prospect of the research. In the beginning, the painting style was more in the concrete category of landscapes, where as a way to express and record day-to-day occurrences, the energy and emotions were placed on actual existing scenery. During the three-year master’s research, due to the accumulation of work and life experience during this period, which caused the change in my state of mind, the painting style gradually became more abstract. Through the elaboration of this thesis, my own form of artwork and its position and value in modern painting are clarified.