隱於生命虛渺處

Hidden in the Nihility of Life

辛慧珉(Huen-Mine Shin)

指導教授 ： 林鴻文

台南應用科技大學/藝術學院/美術系碩士班/碩士(2013年)

https://doi.org/10.6821/TUT.2013.00013

摘要

本論文共分六個章節，主要探討於生命發展過程中，最易令人忽略的微弱狀態之於藝術表現的可能性。第一章緒論，談論筆者對生命的基本看法，乃至生命觸發筆者之獨特見解。第二章創作序曲，說明筆者之創作起源與研究目的。第三章情理發酵，針對不同生命狀態的觀察，抒發對於生命議題所醞釀出的諸多觀點與聯想。第四章理論深化，分析由感知出發的創作理念，映照基本形與色之理論探討，進而探究所引發眾多外在的聲音與個人內在心靈的默響。第五章階段性研究與成果，自我剖析各個不同研究階段的變化與差異，並呈現創作研究之成果。第六章結論，於回溯整個研究過程--初念、提問、實作、討論、求解、呈現--之後所做出的創作心得總結。
作品分為「平面繪畫」與「立體雕塑」兩類，此二者皆為複合媒材之創作。前者主要創作媒材為壓克力顏料，以豐沛熱鬧的色彩表現生命弱態中另一股強烈、正向、活潑的生存意志；後者主要創作媒材為紙漿，藉由青銅氧化效果與立體有機造形表現生命中弱態、轉折、穿透、難以捉摸的生命現象，兩者皆是對生命弱態觀察後將感知轉化為抽象理念的創作。再者，於此次創作研究中亦可清楚看到一些符合生命弱態之基調元素，如氧化的鐵鏽、壁癌的粉霧、消褪的漣漪…等，皆是出於筆者對家人生命遭受病痛威脅時的深刻感觸之反射元素。
筆者主張處於弱勢的生命狀態不單只有消極與沮喪，而是有另一股另類的生機與強烈的生存意志，其發展出不可思議的豐厚創作情感，並經拆解後重新構成獨特的藝術表現。
關鍵字：生命弱態、有機造形、抽象、壓克力、紙漿

關鍵字

生命弱態 ； 有機造形 ； 抽象 ； 壓克力 ； 紙漿

並列摘要

There are six chapters in this thesis, which mainly discusses the possibilities to express art in feeble situations that are most easily neglected. In chapter one, Preface, the author’s general attitudes toward life and how life further inspired her unique perspectives are described. The author describes the origin of creation and study purpose in chapter two, Introduction. Many points of views and associations incubated from life issues in the observation of various life statuses are introduced in chapter three. In chapter four, the author’s perception–based creation concepts are analyzed by linking them to their respective corresponding theories about fundamental shape and color before the various outer sounds and inner personal spiritual silent chime inspired by the creation concepts are further explored. In chapter five, researches and results for each stage are described. The variation and difference among each research stage are analyzed, and research results are presented. In chapter six, Conclusion, the author’s reflection from this creation is summarized after reviewing the entire research process, including initiation, proposing the question, execution, discussion, exploration and presentation.
The author’s work is in mixed media and can be divided into two categories, graphic painting and three-dimensional sculpture. The major media for the former is acrylic paint, whose diversified energetic color was used to express the strong, positive and lively desire to survive while the major media for the later is paper pulp with the three-dimensional organic shape and the effect of oxidized bronze to deliver the feeble, turning, penetrating and elusive stages in life. Both the latter and the former are creation of abstract ideas transformed from perception in the observation of feeble status in life. Furthermore, some fundamental elements for the feeble status in life were clearly present in this creation, such as oxidized rust, the mildew dust from walls, and ripples going away. These elements were reflected from the author’s strong emotion when faced with family’s life was under the threat of disease.
The author proposed that there’s more than negativity or depression at the feeble status in life and rather there’s another unique vitality and strong desire to survive, which stimulate incredibly ample emotion for creation that can be disassembled and reconstructed to form a special artistic presentation.

Keywords: feeble status in life, organic shape, abstract, acrylic, paper pulp

並列關鍵字

feeble status in life ； organic shape ； abstract ； acrylic ； paper pulp

參考文獻

參考文獻

中文書目

1. 莫詒謀(1987)。叔本華的美學原理。台北市：水牛圖書。

2. 謝東山(1995)。當代藝術批評的疆界。台北市：帝門藝術。

3. 項退結(1989)。海德格。台北市：東大圖書。