從現代繪畫中找尋原始圖像的研究-石垣美幸彩墨生命圖像創作論述

本研究的主要目的在於從現代繪畫中找尋與古代圖像間的類似創作要素的探討。現代日本美術中，尤其是1960年以後出生的藝術家，在作品中運用詭譎、怪異圖像的現象甚為顯著。回溯幾千年前的中國古文物與現代繪畫相比較，發現到古代圖像與現代繪畫有相似的相貌產生，因此想做更進一步的探討研究。同時，此類似性的根源會帶來什麼樣的結果也是不容忽視的一環。由藝術演進的角度來審視原始圖像，不能將它們歸類為未開發或不成熟的作品。欣賞中國古文明遺留下的文物時，其中蘊含了優秀的獨創性，這是全世界一致認同的。尤其現代人從其中得到珍貴的藝術性啟發，這也是促使我撰寫此文的動機之一。在西洋美術中，醉心於原始藝術，並進一步深入分析研究的藝術家，不在少數，如高更、畢卡索、馬諦斯…等等藝術家，此風氣隨後不斷地延續至今日。至於這群畫家們如何擷取非西方的圖像，自行取捨後再納入自己的創作中，引用了MOMA美術館中，產生劃時代影響的展示成果以為佐證進行論述。本研究不採用藝術上的進化論或文明論做詮釋，而是主張人類無論處於任何時空環境中，藝術活動皆是運用原始的本能從事創作，此點將舉實例加以證實。又，在科技發達的現代社會，為何現代藝術家中有一群人特別致力於原始圖像的研究，此現象也進行探討分析。　　本論文的三大主結構為：一、古代中國與古代日本的圖像研究，二、在二十世紀初的西方，創作顛覆傳統風格圖像的畫家動向，三、由現代日本藝術中，以跨越時空方式剖析原始創作要素，再與現代繪畫結合，經歸納分析整理後，導出本研究的結論。最後，將研究所得之創作要素，融入創作作品中，進行實證創作。

關鍵字

原始藝術；部族美術；御宅族；散點透視；融合圖像

並列摘要

The main purpose of this study is engaged in the similarity research between ancient and a modernistic painting. In modern Japanese art, especially artists who were born after 1960, there is very significant phenomenon of using strange, weird images in their works. Back to thousand years ago, compare the ancient Chinese artifacts and a modernistic painting, would found similar appearance between ancient and a modernistic painting. Therefore, I would like to do further study on it. Meanwhile, the root of the similarities could cause any results which are also can not be ignored. From the perspective of the evolution of art to look at the original images, they can not be classified as undeveloped or immature work. When appreciate the legacy of ancient Chinese civilization, which contains outstanding originality, and also gained a general consensus among the whole world. In particular, modern people gained precious artistic inspiration from it, which is also one of my motives of writing this article. In Western fine art, many artists were engrossed in primitive art and did in-depth analysis, such as: Gauguin, Picasso and Matisse….etc. Also, the trend has continued to nowadays. As for this group of painters how to capture the images of non-Western images and then utilize it into their own works, I will refer to the epoch-making exhibition in MOMA to corroborate. This study do not adopt art evolution or civilization theory to interpret, but advocate that no matter under which space-time environment, art activities are the use of the original instinct for creation, I will support examples to proof. Also, in modern society with advanced technology, why there is a group of people among modern artists who committed to the research of original images, I will also discuss this psychological phenomenon. There are three main structure of this thesis: 1. The image research of ancient Chinese and Japanese. 2. The trend of the painter who creative non-Western-style in early twentieth century of the West. 3. From the modern Japanese art, analysis the original elements by crossing time and space, then combined with a modernistic painting, after sorting by inductive analysis, export the conclusion of this study.