反射與穿透

Tunghai University Institutional Repository > 創意設計暨藝術學院 > 美術學系所 > 碩士論文 > Item 310901/1146

Please use this identifier to cite or link to this item: http://140.128.103.80:8080/handle/310901/1146

Title:	反射與穿透
Other Titles:	Reflection and Penetration
Authors:	周依璇 Chou, Yi-Hsuan
Contributors:	詹前裕 Chang, Chien-Yu 東海大學美術學系
Keywords:	膠彩;隱喻;變形;人類;現象學;知覺意識 colloidal color;metaphor;metamorphosis;mankind;phenomenology;perceptual consciousness
Date:	2009
Issue Date:	2011-02-18T08:51:23Z (UTC)
Abstract:	中文摘要本文研究範圍以個體的內在與外在因素為對象，將虛實之間的倒置與改變深入探討找尋創作啟發之起點，並從自我觀看方式去檢視身旁相關事物，透過情緒投射轉喻當下的狀態、意識，而得悉「人」之情緒表情並非一定要透過人的圖象來創作，希冀以移情作用使觀者能夠感同身受。〈反射和穿透之意識〉章節中以現象學的探究方式，將現在都市與人之間的關係和以往自然與人之間的關係，依直觀、知覺、描述三種方式來解析創作中自我意識，將反射、穿透的意涵化為個人與世界的知覺現象，就個人成長所悉的種種，區別出人之心理狀態與外界現象的反差，作為闡述的要點。知覺意識對創作的重要性，就如現象原本就存在於世上，經由人的意識始能產生覺醒作用，而排除後天對世界的曲解和誤謬，才能真實面對個人意識中的實體事物。〈漸變與瞬變－創作階段之遞嬗〉的章節以寫生的創作環節起始，再論及媒材特質對創作的意義，逐步探討中國、日本及西方美術史與美學後，從中發現了某種先前既存但卻被意識忽略的創作範疇，此章探討趨向創作行為之前自我心靈的體現，以及創作過程中的體悟，並以繪畫面貌展現己我在歷史中此刻的體驗，或者是說以真正樣貌看到自己目前發覺的存在。茲於創作內容及形式上，將之分成具有不確定感的生活映射以及人與世界的穿透兩個階段，將作品的形式、內容經由反思重新探討創作時的意圖，以現階段個別作品的形式內容去連接未來創作的方向與目標；並從中再次摸索目前創作的困頓與發展性，細思現階段繪畫創作對我的意義，更思考研究所階段對膠彩媒材運用之目的性，將繪畫與創作思緒彙整成較為具體的文本脈絡。 AbstractThis study employs the individual internal and external factors as the subject as to inquire the misplacement and alteration between the materiality and emptiness. It attempts to explore the initiate to creation and examine the relevant matters via self perspectives; moreover, through the emotional projection as the metaphor of the current conditions, it is known that the emotions and expressions of mankind will unnecessarily demand the personal images for creation. It aims at the empathy of the audience via transference. In [Reflection and Penetration of Consciousness], the relation between the city and mankind nowadays and the nature and mankind in the past is inquired via phenomenology in accordance with intuition, perception and description as to analyze the self consciousness in the creation. It transfers the significance of reflection and penetration to the perceptive phenomenon of individual and world; moreover, it differentiates the contrast between the personal mental status and external phenomena as the keys of descriptions. The importance of the perceptual consciousness on creation resembles that the phenomena exist in the world which will be awakened by the personal consciousness. Only when the acquired distortion and falsity toward the world are eliminated can we confront the entity of individual consciousness truly. In [Gradual Change and Drastic Change- Changes of Creative Phases], it begins with the creative linkages of sketches and explores the significance of media features on creation; furthermore, through the inquiry on Chinese, Japanese and western art history and aesthetics, the creative category existing previously but neglected by the consciousness is found accordingly. The discussion in this Chapter is the self mental embodiment prior to creative actions and the enlightenment during the creation; meanwhile, the paintings express the experience of the self at the moment in the history, i.e. the self perceived existence is seen via the true countenance.The contents and forms of creation are divided into 2 phases a.k.a. the life reflection with uncertainty and the penetration of the mankind and the world. The intention of creation is re-inquired via reflection of the forms and contents of works; besides, the contents and forms of the individual works at the current phase are connected to the direction and objective of the future creation. Consequently, the adversity and prosperity of the present creation is re-probed as to deliberate the significance of the present painting creation to me; moreover, the objective of the employment of colloidal media in the postgraduate days is considered as to collate the ideas of paintings and creation as the material context.
Appears in Collections:	[美術學系所] 碩士論文

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