萍泊記憶之敘事形式創作研究 A Study on the Narrative Expressiveness of the Drifter’s Memory

Date
2018
Authors
江德楨
Chiang, Teh-Chen
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Abstract
本研究旨在結合記憶的時間特質及敘事理論產生敘事形式的表現策略,發展以自傳式記憶故事為主題的繪畫創作。 敘事學硏究以文本、話語、敘述為結構本體發展理論,經二十世紀以來的結構主義、現代主義、以及當代藝術思想洪流洗禮後,迄今敘事學已臻成熟並呈現多元運用局面。而在繪畫敘事運用上,隨著對藝術的新理解及符號學、圖像學及形式分析概念的催化,敘事傳達形式已脫離現實模仿、進入主觀性、符號指向、形而上表現,繪畫的時間表述不再是侷限,敘述身分與視角更延伸至畫家外的他者共同創作的局面。 敘事繪畫原意就是圖像會「說」故事,若滲入文化語彙,作品更能吸引共鳴撼動人心。故事的事件場景以瞬間凍結形式獨立存在,隨創作者意圖在時間軸任意交錯與翻轉,產生饒富意境哲思的形式組合,配合記憶感知的線性時間與情感主觀性,更讓敘事創意得以如虎添翼般的無限延伸。 本研究的〈萍泊記憶故事〉屬於自傳式記憶,首先從記憶現象及其時間特質分析,發現具有共時、層次、擬真及反差等結構形式,據此發展多視點、敘事角度變換、柵欄效應、與視聽共感的形式表現策略,以迴形、楔形、沙漏形、及柵形等佈局構圖,及異質共存、漸層、色塊等色彩表現運用,進行繪畫創作。作品共十四幅,為生命各階段生活變遷,以故事性及精神性投射,是對過去的牽掛、快樂與對未來的惆悵,仿如流浪浮萍四處,不斷尋找停泊處的無奈,它不僅對我是自身歷史記憶的影像紀錄,更隱含對普羅大眾的共同記憶。
This study is aimed to produce a narrative painting of the autobiographical memory stories, through a narrative form expression strategy created from the integration of the memory’s temporal traits with narrative theory. Narratology studies use text, discourse, and narration as the foundation for structural ontology development. After the baptism of structuralism, modernism, and contemporary art thoughts since the twentieth century, narratology has become mature to present in various purpose. In narrative painting, with the new understanding of art and the catalysis of semiotics, iconology and form analysis, the narrative communication form has been separated from the imitation, into subjectivity, symbolic orientation, metaphysical expression. The time expression for painting is no longer a limitation. Both of narrator’s identity and its perspective extend to the situation where the others outside the painter co-creates together. The narrative painting is the image telling the story. If it permeated into cultural vocabulary, it will be more thought-provoking and inspiring. The various story event is existed independently in the form of frozen moments, which can be randomly intertwined and flipped in the time axis with the author's intent, and which also results in a sophistic combination of artistic conception and philosophical thinking. If further mixed with both memory’s linear time and subjective nature, the narrative creativity will be further enhanced. My study of Pingbo memory story is a kind of autobiographical memory. Firstly, the memory phenomenon and its temporal traits are analyzed to find structural forms such as synchronicity, hierarchy, immersive and contrast. From which, the form expressiveness strategy is developed in aspects of multi-viewpoint, narrative angle transformation, fence effect, and audio-visual perception. Afterwards, during painting, the story characters and scenes are constructed in accordance with the shape like such as curve shape, wedge shape, hourglass shape, or grid shape, and the use of color scheme are heterogeneous coexistence, gradation, color block. The Pingbo memory story contains 14 pieces of works, which are life-changing experience in all stages of life. They are projected into story type and spirit. They are a concern, jealousy, and happiness from the past to the future. It is just like a wandering duckweed, constantly moving around looking for the berth. It is not only an image record of my own historical memory, but also implies a common memory of the general public.
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Keywords
敘事, 記憶, 符號學, 文化語彙, Narrative, Memory, Semiotics, Cultural vocabulary
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