繪畫創作中的「存在感」之研究
No Thumbnail Available
Date
2017
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
繪畫創作中的「存在感」之研究
摘 要
本論文以繪畫創作中的「存在感」為主題，針對創作過程與「存在感」的關係之論述。主要探討在創作經驗中，從表象的觀看分析其背後所帶來的內在感受，試圖在可見的現象世界與不可見的精神世界之間的存有建立迴圈，讓此存有視覺化，並提出透過表象的描寫使「存在感」體現於創作過程，讓存有視覺化成為可能的主張，同時借由此探索過程與繪畫創作確認自身創作脈絡與風格。
本研究從「存在感」與繪畫創作之關係談起，分析繪畫創作裏「存在感」被感知的可能性及途徑，再以現象學及梅洛龐蒂的視覺存有學觀點作為主要學理依據，從理論性的文本中勾勒出「存在感」與視覺經驗的關係，提出繪畫為「存在感」視覺化的過程之理念，以自身創作經驗為基礎將「存在感」作為繪畫創作理論建構的主要訴求。在理論的探索後，對「存在感」如何於繪畫製作過程中對外展現的問題做出探討。接著以自身創作是透過表象的描寫為方法做為論述「存在感」的再現之理念，將具有透層特性媒材之油彩蛋彩混合使用作為自身實際創作的執行，從不同主題的系列作品中，進行創作內容分析以呼應論文主要理念。
在研究成果方面，除了與主題「存在感」訴求呼應之系列作品呈現外，提出繪畫創作裡「存在感」的體現在於物與心的交叉點，並認為創作者必須意識到技巧的限制與可能性，以及對於傳統的繼承與創造實為一體兩面之結論。
A Study of “ Sence of Being ” in Paintings Abstract This study examined the “sense of being” (dasein) in paintings and discussed the relationship between the creative process and the “sense of being”. From the perspectives of creative experiences, the observation of appearance was used to analyze the inner feelings thereby generated. The creation of a loop was then attempted between the visible phenomenal world and the invisible mental world to visualize the existence. The viewpoint of realizing the sense of being in the creative process by depicting the appearance and making the visualization of the existence possible was presented herein. The painting context and style were confirmed through the exploratory and creative processes. This study started by discussing the relationship between the “sense of being” and painting creation, and analyzed the possibility and path of the “sense of being” that were perceived in paintings. Moreover, phenomenology and Maurice Merleau-Ponty’s ontology of vision were applied as the main theoretical bases. The relationship between the “sense of being” and the visual experiences was outlined from theoretical texts. The concept of painting being the visualization process of the “sense of being” was proposed herein. Based on the self-creation experience, the “sense of being” was proposed as the main appeal for the construction of the painting theory. After exploring the theories, the issue regarding the ways of the “sense of being” displayed externally during the painting process was discussed. Next, through the depiction of appearance, self-creation is used as the underlying concept to discuss the reappearance of the “sense of being”. The penetrating mixed egg tempera and oil painting technique was then applied to execute the self-creation. Various paintings with the “sense of being” as the main appeal were provided for the analysis of the painting content in response to the main idea of the study. In terms of the results of the study, in addition to the presentation of the paintings which correspond to the “sense of being”, we propose that the “sense of being” in paintings is reflected in the nexus of object and mind. Also, we believe that the creator must be aware of the limitations and possibilities of the techniques and conclude that the tradition’s inheritance and passing-on are the two sides of the same coin.
A Study of “ Sence of Being ” in Paintings Abstract This study examined the “sense of being” (dasein) in paintings and discussed the relationship between the creative process and the “sense of being”. From the perspectives of creative experiences, the observation of appearance was used to analyze the inner feelings thereby generated. The creation of a loop was then attempted between the visible phenomenal world and the invisible mental world to visualize the existence. The viewpoint of realizing the sense of being in the creative process by depicting the appearance and making the visualization of the existence possible was presented herein. The painting context and style were confirmed through the exploratory and creative processes. This study started by discussing the relationship between the “sense of being” and painting creation, and analyzed the possibility and path of the “sense of being” that were perceived in paintings. Moreover, phenomenology and Maurice Merleau-Ponty’s ontology of vision were applied as the main theoretical bases. The relationship between the “sense of being” and the visual experiences was outlined from theoretical texts. The concept of painting being the visualization process of the “sense of being” was proposed herein. Based on the self-creation experience, the “sense of being” was proposed as the main appeal for the construction of the painting theory. After exploring the theories, the issue regarding the ways of the “sense of being” displayed externally during the painting process was discussed. Next, through the depiction of appearance, self-creation is used as the underlying concept to discuss the reappearance of the “sense of being”. The penetrating mixed egg tempera and oil painting technique was then applied to execute the self-creation. Various paintings with the “sense of being” as the main appeal were provided for the analysis of the painting content in response to the main idea of the study. In terms of the results of the study, in addition to the presentation of the paintings which correspond to the “sense of being”, we propose that the “sense of being” in paintings is reflected in the nexus of object and mind. Also, we believe that the creator must be aware of the limitations and possibilities of the techniques and conclude that the tradition’s inheritance and passing-on are the two sides of the same coin.
Description
Keywords
存在感, 表象, 可見性及不可見性, 透層, 油彩蛋彩混合技法, sence of being, appearance, visibility and invisibility, penetration, mixed egg tempera and oil painting technique