蟄伏．隱喻—黃淑芳水墨創作論述

Abstract

本論文援用認知隱喻理論（雷可夫與強生，1980）以探討繪畫創作裡隱喻的問題。他們所提出隱喻是一種跨領域的認知現象，表述為跨領域認知操作下產製的語文再現。隱喻既然有認知上的功能，又能闡述繪畫之義理，此看法不啻為隱喻繪畫開啟了另一扇窗。亞里士多德氏認為「措辭只要含有隱喻，就能受到歡迎，但是隱喻不能過於牽強，否則就不能給聽眾留下印象。」是以合理、有效的運用隱喻，及以隱喻和危機意識結合的創作是本研究所欲探究的。第一章緒論在闡述本創作的研究動機、目的、研究方法及研究的範圍、限制與名詞釋義；第二章以心理學理論及社會學理論，建構論述的架構，並分析相關藝術家作品中潛藏的寓意，以豐富筆者相關學理的知識儲備，並增強藝術創作的能量。第三章透過與創作相關主題的藝術家作品分析，闡述筆者的藝術創作理念，內容以《蟄伏系列》、《危機共舞系列》及《轉化》三個系列，以符碼的象徵寓意及超現實為表現形式，並以鸚鵡螺、豹、天鵝、蝴蝶、大象等作為不同情境下之自我投射的對象，探索與覺察感知生命中潛藏外在與內在的危機意識，感知生命中不可預測的狀態。第四章解析系列及個別作品；第五章結論理解危機意識生成及運作有助於梳理內心，以藉此創作過程檢視自己的心理狀態，並以本研究作為未來相關主題探討之延伸。本研究藉由作品展出引起大眾對危機意識的深思與重視，並透過繪畫呈現引起觀者的共鳴，理解隱喻與危機意識的關係並作為後續相關主題探討之參考，亦可作為日後創作者之心理題材、表現手法以及內容脈絡的依據，釋放內心的真實心聲讓更多的人感受潛藏在作品中的無窮力量。This paper employs the Cognitive Metaphor Theory (Lakoff& Johnson, 1980) to explore the issue of metaphor in painting creation. They proposed that metaphor is a cross-domain cognitive phenomenon, expressed as linguistic representation produced under cross-domain cognitive operations. Since metaphor has cognitive functions and can elucidate the meaning of painting, this view opens another window for metaphorical painting. Aristotle believed that "language containing metaphor is appealing, but metaphor should not be too forced, otherwise it will not leave an impression on the audience." Therefore, the reasonable and effective use of metaphor, combined with crisis awareness, is the focus of this study. Chapter One Introduction This chapter elaborates on the research motivation, objectives, research methods, and the scope, limitations, and definitions of terms of this creation. Chapter Two constructs the framework of argumentation with theories from psychology and sociology, and analyzes the hidden meanings in works of relevant artists to enrich the author's knowledge reserve of relevant theories and enhance the energy of artistic creation. Chapter Three analyzes works of artists related to the themes of creation. It elaborates on the author's artistic creation concept, focusing on three series: "Hibernation Series," "Crisis Dance Series," and "Transformation," using symbolic symbolism and surrealism as expressive forms. Animals such as conches, leopards, swans, butterflies, and elephants are used as objects for self-projection in different contexts, exploring and perceiving the hidden external and internal crisis consciousness in life, and perceiving the unpredictable states in life. Chapter Four analyzes the series and individualworks. Chapter Five Conclusion Understanding the generation and operation of crisis consciousness helps to sort out the inner world. Through this creative process, one can examine one's own psychological state, and use this study as an extension for future discussions on related topics. This study aims to provoke public reflection and attention to crisis consciousness through art exhibitions, and to resonate with viewers through painting presentations. Understanding the relationship between metaphor and crisis consciousness serves as a reference for subsequent discussions on related topics. It can also serve as a basis for psychological themes, expressive techniques, and content context for future creators, releasing the true voices of the heart and allowing more people to feel the infinite power hidden in the works.