形體拆解─物「相」重構專題研究

Abstract

本研究從繪畫的原始基礎出發，以形體的結構性及圖像學為本，來探討事物除眼見以外深入的精神內涵。 在創作中以人物為主要表現對象，加入創作者主觀的心理層面，再藉由拆解後重新建構成能直接觸發觀者的形態，以另一種角度表現對於人類體態與周圍事物的相互關聯及微妙的構成，運用寫實的繪畫技巧、視覺心理學及圖像的象徵主義等原理，將拆解後的肢體抽絲剝繭，依其僅存的精髓，再經過巧意安排與重構，還原成素描最初的構圖形態，表現對人的敏感度並創造傳統人物寫實作品中更進一步的表現方式。 此論文的最終研究目的在於揉合超現實主義試圖創作寫實繪畫的新視覺感受，重新思考以「人」為繪畫主題能否產生新的發展方向，故以「拆解」去深入解讀人的體態與構成，以「重構」來分析每一個生活在當代的女性肢體在繪畫中的形象與背景意義，最後加入創作者的心象以作品表現並加以驗證。

Based on the fundamental beginning of painting, the paper seeks to probe the spiritual content, apart from seeing, through the figurative structuralism and iconology. In a work, figure is the primary object to be expressed along with the artist’s subjective psyche and with the series of composition and recomposition that directly evokes the viewer to picture a figure. Meanwhile, another perspective of expressing the subtle relationship and composition between the human gesture and the milieu has been used to present the realistic technique of painting, visual psychology and the symbolism of the icon. Then, after the limbs have been divided apart, they have to be uniquely arranged and recomposed in accordance with the existing spirit in order to restore the primary composing figures of the sketch, expressing the human sensitivity and further creating the traditional figures in the realistic work. The aim of the M.A. thesis attempts to create a new visual sensitivity of realistic painting by fusing surrealism and reconsider whether there is any new development thematically based on humans. Thus, decomposition is made to further read the human body and its composition, and re-composition is used to analyze the image and the background meaning underlying the contemporary women’s limbs in a painting. Finally, the mental image of the artist is added to verify the expression of a work.