桃花源心象造境─吳玉潔水墨創作論述

Abstract

「桃花源」自從東晉陶淵明〈桃花源記〉的出現後，長時間以來一直是文化藝術界喜愛的題材，其意象也隨著時間和地域的不同而產生改變。從《山海經》的崑崙仙境和玄圃、荊湘地區的民間故事，到陶潛的〈桃花源記〉，這種追求永恆樂園的意念，融合到文人的理想山水繪畫及園林，甚至隨著文化傳播到韓國和日本，個別形成在地化的仙境山水與心之書齋。「桃花源」最終成為人們所嚮往的理想世界、「心」中的永恆歸屬之地。 為了與外在世界的紛擾共處，我們必須時常向內走進「心」中的歸屬之地省察自身，這片秘境既是暫時超脫現實的永恆理想樂園，也是能顯現自我人格潛意識之處。20世紀的瑞士心理學家卡爾‧古斯塔夫‧榮格(Carl Gustav Jung)畢生研究人格潛在意識，並提出了「集體潛意識」的陰影等多種原型，使我們能深入解析人們的心理狀態。 本研究主要透過桃花源相關的文獻探討與圖像分析，探討如何藉由空間表現，從虛假的外在現實過渡到真實的心靈圖像，以一種「源內」和「源外」的空間概念區分「內在」與「外在」，進而討論心象空間的兩種類型：理想世界、人格顯現的差異。經過文獻探討作為創作論述的基礎，結合本身的生活及繪畫經驗，形塑自我的桃花源心境圖像及繪畫風格。繪畫創作上探討膠彩及水墨運用在紙、絹上的差異，最後選擇絹作為主要表現基底材，而構圖安排上，作品之間帶有些許故事情節的連結，也就是從「源外」走進「源內」的過程，嘗試呈現出靜謐而空靈的水墨淡彩繪畫風格。Since the appearance of Tao Yuanming’s “Peach Blossom Spring” during the Eastern Jin dynasty, utopia has been a long-time favored subject of cultural arts, changing according to times and locations. From the paradise of Kunlun Mountain in the volume “Classic of Mountains and Seas”, a collection of folklore from the Jingxiang region, and Tao Yuanming’s (also known as Tao Qian) “Peach Blossom Spring,” emerges this pursuit or desire for the idea of paradise. This utopian ideal has appeared in literati’s landscape and garden paintings; which was culturally diffused to Korea and Japan in the art forms of wonderland-like landscapes and artistic innate designs. The “Peach Blossom Spring” is synonymous with utopia, an ideal world- the land where every heart yearns to return to. In order to deal with a tumultuous world, we often must retreat into our hearts and minds to examine ourselves. This space is a temporarily detached paradise where we can see our subconscious personality. Twentieth-century Swiss psychiatrist Carl Gustav Jung has researched subconscious personalities and discussed the shadow of the “Collective Unconscious.” His works have become a prototype for many other theories and allowed for a better understanding of the human psyche. This study focuses on literature review and image analysis of the “Peach Blossom Spring” or utopia, in exploring the use of space from the false external reality to a true inner imagery, the “introversion” and “extraversion” represented by “within the spring” and “beyond the spring” respectively. These two conceptual imageries depict: a perfect world and the discord with human nature. After a literature review, the foundation of this creative discourse finds that the image and style of the “Peach Blossom Spring” utopia presented is based on the artist’s personal and artistic experience. A discussion on the artist’s art-making process includes the artist’s choices of colors and inks, his selection of a paper or silk primary support- his final decision in silk, and the compositional arrangement which reveals a story narrating via the progression from “beyond the spring” to “within the spring” in expression of the painting’s ethereal solitude with its ink wash colors and styles.