圖像.嫁接 — 紀冠地彩墨創作論述 Icon‧Grafing–Thesis on creation of colored ink painting–by Chi Guan–Ti

dc.contributor 李振明 zh_TW
dc.contributor Li Zhen-Ming en_US
dc.contributor.author 紀冠地 zh_TW
dc.contributor.author Chi Guan–Ti en_US
dc.date.accessioned 2020-12-10T05:23:22Z
dc.date.available 2010-8-25
dc.date.available 2020-12-10T05:23:22Z
dc.date.issued 2010
dc.description.abstract 本研究從圖像嫁接涵出發,探討在後現代時空背景之下,試圖先將水墨回到「繪畫性繪畫」思維,當當代圖像不斷的推演出新的視覺圖像,尋求水墨圖像能與當代西方圖像,不管是平面藝術還是影像應用藝術,相互抗衡,不致使水墨式微,被淘汰。 利用「神思」、「藝術的間離本質」、「潛意識與夢的理論」來輔助說明「圖像嫁接」的概念。 南朝梁劉勰所提出「神思」來探討藝術想像,「神與物遊」的概念,及其作為神思的發生機制「感興」,來了解是如何成為「神思」裡的主體和客體之間相互作用以形成新的審美意象。 阿多諾提出「藝術的間離本質」來說明藝術的本質–藝術是在追求非現實之物,藝術是在追求現實不存在或是尚未為出現的東西,以此為中心,進而闡述說明藝術離不開對現實的模仿,及在者和非在者共時並存的辯證的構造,簡單的說就是藝術是對現實有距離的模仿。 佛洛依德的「潛意識與夢的理論」認為人的慾望尚未滿足,則會轉由其他的方式扭曲出現,就是作夢,他也把夢的理論應用在文藝創作理論上,指出文學藝術和夢都是一樣,在實質上都是一種替代物,是一種具有充份價值的精神現象,藝術家潛意識的欲望,亦即是他的「潛在思想」,經過這種扭曲的形式表現出來。在藝術家的創作過程中,他們找到一種類似可以解放心靈壓抑的滿足感。 最後再藉由創作脈絡來檢視和釐清自己的創作方法論及美學思想是否能相互銜接,而這樣的創作方式是否能夠走出自己的一條道路。 zh_TW
dc.description.abstract This research discuses theissue of the ink painting back to the thinking of painting for painting’s sake, in the postmodern setting, from the icon and grafing. Nowadays it has a majority of contemporary visual images; however, we need to seek the ink painting as well as the contemporary western images. In addition, we need to balance not only tow dimensional arts, but the applied arts so as to conserve the ink painting. It is implemented to demonstrate the concepts of ‘icon and grafing’ via ‘divine thinking’, ‘the elements of arts’ and ‘sub-consciousness and dream interpretation’ The Southern Dynasties, the Liang Dynasty, Liu Xie points out ‘divine thinking’ to discuss the concepts of art-image and god and objective image. “Artists have various feelings and imaginations, so that their art works can touch people’s heart” said by ‘divine thinking’ is in order to understand how to achieve the relationships of divine things within the subject and the object to form a brand new aesthetic era. Adorno asserts the ‘the elements of arts’ to explain the true arts- the purpose of art is to chase the un-real object or the object that has not been created. Based on this, he claims that art is to imitate the reality and the dialectical structure. Therefore, art is a imitation with distance to reality. From Freud’s theory ‘sub-consciousness and dream interpretation’, because of the unsatisfactory human desires, they will appear in the twisty form, which is ‘dream’. He also utilizes the dream interpretation into creative writing and mentions that literature, arts and dreams are all the same. In the reality, all those things are substitutions, which mean a fully value of spirit, sub-consciousness’ desire of artists. It is also artists’ “conscious thought” that is shown up by a twisty form. In the creative process of the artists, they find a satisfaction to release their souls. Finally, I will exam and clarify the connection between my theory of creation and the thinking of aesthetics. Thus, I will find my own way in art fields. en_US
dc.description.sponsorship 美術學系 zh_TW
dc.identifier GN0695600617
dc.identifier.uri http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0695600617%22.&
dc.identifier.uri http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115365
dc.language 中文
dc.subject 圖像 zh_TW
dc.subject 嫁接 zh_TW
dc.subject 潛意識 zh_TW
dc.subject 彩墨 zh_TW
dc.subject icon en_US
dc.subject grafing en_US
dc.subject sub-consciousness en_US
dc.subject coloured ink painting en_US
dc.title 圖像.嫁接 — 紀冠地彩墨創作論述 zh_TW
dc.title Icon‧Grafing–Thesis on creation of colored ink painting–by Chi Guan–Ti en_US
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