杉浦康平與靳埭強的平面設計作品運用老子「道、有、無」哲思之研究

傳統文化源遠流長，影響遍及生活的各個層面，道家的哲學思想對藝術與設計領域的影響既深且遠，其中老子的哲思具有開創性的意義，其概念並影響了許多設計師的創作，然則相關的研究多集中於道家的莊子思想之探討，對老子哲思則著墨較少而有研究之必要。而對中國文化、藝術與美學瞭解甚深的香港設計師靳埭強及熟知亞洲圖像與文化的日本設計師杉浦康平皆受中國文化的陶融及道家哲學之影響，於設計上亦有傑出的表現與突出的個人風格，值得進一步探討其脈絡。故本研究以釐清老子道、有、無哲思之概念與意義、探討杉浦康平及靳埭強的設計創作與老子哲學之關連及在此一脈絡下的理念轉化和創作表現與兩人在理念、符號和手法上的異同為目的，透過老子哲思及中、日相關美學思想和圖像與造形心理之理論探究、兩位設計師的個人背景和創作歷程之解析，由此歸納出七項與老子哲思相關的創作理念及表現方式：天圓地方、陰陽、道生萬物、天人合一、混沌、餘白及自然。在天圓地方及天人合一的部分，杉浦康平及靳埭強分別運用了佛教及道家的宇宙觀，以及訴求和諧、質樸的道之運行規律；表現方法上杉浦康平採用了曼荼羅、宇宙山以及五色相會的手法，靳埭強則以方圓及莊周夢蝶的物我合一論點，透過蝶、蓮、蜻蜓等元素來表現。陰陽及餘白方面，兩人皆使用了陰陽兩氣的概念及表達餘韻的空間處理。道生萬物、混沌及自然在杉浦康平的設計中則訴諸宇宙動力的顯現及多主語的世界觀，靳埭強透過石濤的一畫論表現物之生成及歸返的狀態及律動。而在兩人設計中同樣運用了一即一切、太極陰陽觀、虛實相生、天人合一、天圓地方及餘白、餘韻等概念和手法；其差異處主要呈現在宇宙觀的不同及所援引的理論與慣用的符號表現，如杉浦康平常取用之佛教的混元宇宙觀，表現在五大、曼荼羅、須彌山等造形上；靳埭強則以中國的宇宙觀和文化觀，提出太樸無法的一畫論之觀點與表現，並慣以文房四寶和生活物件、紅點、圓石等元素進行設計表現。

關鍵字

杉浦康平；靳埭強；平面設計；老子

並列摘要

The traditional culture has a long history and produces an effect on all aspects of life. The Taoist philosophy has a profound and broad effect on the field of arts and design. And, Lao-Tzu’s philosophical thinking is of groundbreaking significance and his concept produces an effect on the creation of many designers. However, most of the related studies aim at investigating Taoist Zhuangzi’s thinking and only few of them focus on Lao-Tzu’s philosophical thinking. Therefore, it is necessary to study it. Kan Tai Keung, a designer from Hong Kong who well knows the Chinese cultures, arts and aesthetics, and Sugiura Kohei, a designer from Japan who is very familiar with Asian images and cultures, are deeply affected by the Chinese cultures and Taoist philosophy. Both of them have their own excellent works and outstanding personal style in the field of design. Their threads of thought are worthy of being investigated. Therefore, the present study aims at clarifying the concept and meaning of Lao-Tzu’s philosophical thinking of ‘Tao, Being and Non-being’, investigating the relations between Sugiura Kohei’s and Kan Tai Keung’s design works and Lao-Tzu’s philosophy and discussing the concept transformation and creation in this context as well as the similarities and differences between the two designers’ concepts, symbols and practices. Through a theoretical exploration of Lao-Tzu’s philosophical thinking and the related Chinese and Japanese aesthetic ideas, images and psychological forms, and then an analysis of the two designers’ personal background and creative history, seven creative ideas and expressions in relation to Lao-Tzu’s philosophical thinking are summarized as follows: ‘Round Sky and Square Earth’, ‘Yin and Yang’, ‘Tao Gave Birth to All Things’, ‘Harmony between Heaven and Man’, ‘Chaos’, ‘Blank’, and ‘Nature’. For the parts of ‘Round Sky and Square Earth’ and ‘Harmony between Heaven and Man’, Sugiura Kohei and Kan Tai Keung use respectively the Buddhist and Taoist cosmology and the Taoist operation laws pursuing harmony and simplicity; as to the representing methods, Sugiura Kohei uses Mandala, cosmic mountain and five-color meeting while Kan Tai Keung uses round and square forms and the concept of ‘unity of object and subject’ from Zhuangzi’s butterfly dream, which is expressed by the elements of butterfly, lotus and dragonfly. For the parts of ‘Yin and Yang’ and ‘Blank’, both of them use the concept of Yin and Yang and the space arrangement to express aftertaste. For the parts of ‘Tao Gave Birth to All Things’, ‘Chaos’ and ‘Nature’, Sugiura Kohei’s design contains the presence of cosmic power and the multi-subject view of the world while Kan Tai Keung’s design contains the representation of the status and rhythm of the generation and returning to nature of all things through Shi-Tao’s ‘A Painting Theory’. In their works of design, both of them apply the concepts and techniques, such as ‘One Is All’, ‘Tai Chi and Yin and Yang’, ‘The False and the True Complement Each Other’, ‘Harmony between Heaven and Man’, ‘Round Sky and Square Earth’, and ‘Blank’; however, they have different cosmologies, reference theories and preferred symbols, for example, Sugiura Kohei often adopts the Buddhist cosmology of Primordial Chaos and expresses it in the forms of Five elements, Mandala and Sumeru while Kan Tai Keung makes use of the Chinese cosmology and cultural values to represent the viewpoint and idea of the primordial, natural and pure simplicity in ‘A Painting Theory’ and he also prefers to use the Four Treasures of Study, objects in daily life, red points and round stones as the main elements of his design.

並列關鍵字

Sugiura Kohei ； Kan Tai Keung ； Graphic Design ； Lao-Tzu

參考文獻

王邦雄，1988，老子的哲，五版，東大，臺北

王邦雄，2010，老子道德經的現代解讀，遠流，臺北

牟宗三，1983，中國哲學十九講，臺灣學生書局，臺北

唐君毅，1974，哲學概論，上冊，臺灣學生書局，臺北

徐復觀，1984，中國人性論史．先秦篇，臺灣商務，臺北

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杉浦康平與靳埭強的平面設計作品運用老子「道、有、無」哲思之研究

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