水墨畫之模糊性及其歸屬芻議

本文論述係由道家哲學體系來引證水墨畫創作過程與心理，以「模糊性」命題作為切入與分析，試圖連結道家典籍思想與畫論文獻，並結合水墨畫圖式探求創作過程中之心理轉折，進而建構其歸屬內容。從外部現象看來，道之體現是模糊的，因個人學力未逮，仍不諱文字之局限引證、闡述水墨畫「模糊性」之論述。本論述係由外部現象轉向於內部本質之探究，企圖「明晰」地、貼切地呈現創作者意欲之表達及幽微心理層面，故而從水墨畫史的「宏觀」面轉向相對「微觀」角度，並展現出「顯性」的層面上，在衍化的過程中建立「模糊性」之內在結構組成及歸屬輪廓，其間以文獻及水墨畫作為引述，從「微觀」的視野，以多層次構成思考來闡述「模糊性」，故以東方水墨畫特有創作之心理、過程及思考轉折為主軸，概分出「模糊性面對」與「模糊性表現」。以「模糊性面對」之創作心理及過程為體現論述；而「模糊性表現」則以水墨畫成品表現特質－以「渾淪」為主體論述，連結完形心理學自動填補機制，來說明「天趣」之歸屬。

關鍵字

模糊性面對；模糊性表現；完形心理學；自動填補機制；渾淪；天趣

並列摘要

This article attempts, though Dao's philosophy in books and through Chinese painting documentary, to search the process and mentality of Chinese ink-wash painters when creating works. By using ”vegueness” as the subject to be analyzed, this article also attempts to construct the attribution of the paintings style through Dao. It is the external veguesnes appearance of Dao, the Chinese ink-wash paintings carried the same to be stated. In order to be ”clearly” and properly stating the desired expression of the painter, the vagueness” is used to search from external to internal essentials, from macro point of view to the micro view. It is that the author tries to recontruct the inner structure and attribution of ”vegueness” through studing the documentary and ink-wash paintings, companied with the micro point of view and multi-layer of thinking. For the special characters carrieed by oriental ink-wash paintings, they can be distinguished two aspects by considering the process of mental work of the painters. These two aspects are vague-facing for the work and vague-presenting for the painter. The vague-facing aspect as the mentality and process is used to describe the work creating, and the vague-presenting, as the special character in Chinese ink-wash paintings, is used by the painter to describe the theme ”chaos”. These two aspects as Gestalt Psychology combines to automatically compensate what we explain the ”Nature-fun” attribution in paintings.