齊伊達與真空妙有的空間

Abstract

空與滿、黑與白、光與影、陰與陽、虛與實，這些介於有-無(something-nothing)之間的相對概念，提供藝術家各種不同的創作思維與詮釋的空間。 有雕塑詩人之稱的西班牙雕塑家齊伊達Eduardo Chillida (1924-2002)利用高溫鍛鐵敲打出具有強大張力的巨型雕塑、矗立海邊面對波濤洶湧浪花拍擊與海天對話。他的版畫作品，黑墨與切割重疊的紙張與光線同樣傳達如雕塑般的空間感。 齊伊達致力探討材料(material)與空間(space)之間的對話與張力。他認為雕塑的概念是表現出量體中：存在與不存在之間的比例關係以及張力，探討內部與外部(interior/exterior)、實心與空心(solid/void)、時間與空間(time/space)、重量與失重(weight/weightlessness)等問題，這些概念都同樣介於有無之間。 本論文根據亞里斯多德(Aristotle)的處所(place)觀念，到海德格(Heidegger)對於空間的處所(place)與存有(being)之現象學理論，探討齊伊達創作中所表現的存有空間，是為了彰顯此在(dasein, being there)，是一個從無到有的去蔽化(disclosedness)、也就是開顯(aletheia, unconcealment)的過程。 本論文研究的創作理論是從存有的空間開始，再從藝術空間與心理空間所構成的翹曲空間的角度，探討介於真空妙有的藝術空間中的創作。Emptiness and Fullness, Black and White, Light and Shadow, Ying and Yang, these relative concepts provide artists with a variety of creativity and interpretation of the space. Edurado Chillida (1924-2002), a grand Spanish Basque artist, spent his whole life exploring the relationship between material and space. He used giant forge iron sculptures such as Wind Comb by the St. Sebastian city’s reef coast, to express the relationship between interior and exterior, solid and void, time and space, and to create a timeless conversation between human and the environment. His black ink cutting and overlapping paper work are also as powerful as his sculptures, showing the same relative concepts. The balance of dualities such as black/white, heaviness/lightness and emptiness/fullness, give Chillida's work an universal importance. This thesis aims to use phenomenology theories from Aristotle’s concept of Place and Heidegger’s theory of Place and Being to explore the Being of Chillida’s work in our space, and the process of disclosedness, aletheia, just like the process from Nothing to Something.