心靈體驗與水墨畫創作

Abstract

本研究探討水墨畫的創作，是經由身歷其境體驗的過程，使種種的思緒儲藏於心靈內在的意識，形成水墨畫創作上的元素與豐富性。 心靈的體驗小到自身環境，大到天地萬物間，因為個人覺知的不同，會形成對物象有著不同的價值定義；身處在迥異的現實環境裏，也會形成不同的創作風貌。所以在價值上的認定與創作上的表現，是心靈體驗過程中，會產生與現實互動的思索。人們經過自身與體外物象的遭遇，形成記憶了身歷其境的經驗。文中探討了自由度對於體驗的重要性。以及價值、焦慮、心理作用、停頓與自由的相互關係。並且舉出因為擁有靈性與創造力的自由，才引發的創作表現。 體驗的歷程是人與環境的因緣際會，本文引用佛教思想「一念三千」詮釋人們十種生命境界的傾向，其中「十如是」訴說諸法實相－事物運行的法則軌跡，並且以「三世間」的觀念，道出人與環境的關聯—因為個體環境物種的不同，對環境就有不同的見解。藉由「一念三千」訴說生命的各種可能性，其在心靈體驗上扮演著重要的角色，也豐富了創作思維的多元性。 水墨畫在繪畫媒材中，有著獨特筆墨精神內涵與表現技法，在中國的宋朝以來扮演著繪畫表現的主流，水墨畫講究意境，文中訴說了藝術境界的美在於心靈的映射，而體驗的過程，即是映照出再現意境的心靈美感；水墨畫創作的泉源，便是在大自然中去進行體驗觀察，呈現出心象或物象的美感與意境。並能運用筆墨的特質將個人生活的時代性展現。水墨畫會隨著時代的變遷而轉換創作的內容，同時記錄了創作者個人體驗的足跡。 在創作理念中，舉出寫生的精神，以及象徵、暗喻與心靈再現對於創作的關聯性。在寫生的過程中，闡述直覺是表現造形美感與表現描繪對象的生命活力。象徵是指藉由親身參與來喚醒自我，暗喻是將一種事物轉化成另外一種更豐富更有價值事物的一項技巧。心靈再現即因經驗的累積裡獲得靈光乍現，藉由筆墨紙硯媒材的運用，抒發出體驗環境所汲取的養分，而創作出水墨畫作品。 作品創作以心象與物象兩種元素進行，心象的作品：例如萬象心照、滅生不息，傳達對當代的時空與科技汰舊換新的思索及表現，物象的作品，例如汝即梵、寶來攬勝，在描繪風土民情或大自然美景的展現。運用水墨畫的材質，創作出心象的超現實主義的畫面空間，抑或是以寫生為主體，轉換成心靈再現的物象表現；水墨畫的材質將因創作者的心靈體驗的精神思維過程，而創作出與當代環境呼應的作品，水墨畫精神與形式也對時代進行了描繪。This essay purposes to discuss the production of ink painting, whose creative sources and diversity are rooted in the process of sense experiences, enabling the precipitation of the assorted thoughts in mind where conscious lies.

Sense experience ranges from as small as responses to personal environment, to as large as reflections to the universe. With each individual possessing different perceptive senses, their definitions and values differ. Therefore, creative works of art vary with the environment, as the sense experience occurs upon the interaction between the artist's value perception and the artistic output. People form experiential memory through the encounter of inner selves and outer existences. This essay discusses the importance of freedom, and explores the interrelation between values, anxiety, psychological effects, and pause. An example of creative art work solicited by spirit and the freedom of creation is also provided.

The process of experience can be understood as the serendipity of men and the environment. The Tien-Tai Buddhists’ notion cited in the essay, “Three thousand existences in a single thought”, illustrates the ten dharma realms, which is descriptive of human life propensities. The concept of “Ten Such-likes” explicates the way things are connected with "all thinkable phenomenal elements". Along with the idea of “three divisions of each realm of existence”, the relationship of men and the surrounding is portrayed. Simply because of the differences within individuals, different interpretations towards the environment are resulted. “Three thousand existences” exerts all possibilities of life, and it plays an important role in sense experience. In fact, it enriches the creative mind.

Among the assorted painting materials, ink painting exhibits a "Brush-ink spirit", which is construed as a unique philosophy and skills. Ever since Sung Dynasty, it has been the main-stream painting method. Ink painting, as expounded here, stresses "the spiritual touch", and artistic fineness denotes the reflection of the spirit. The process of experience projects the spiritual beauty. The source of an ink painting is often through observation and experiencing nature, so as to present the subjective and objective beauty and to illustrate the zeitgeist of the artist. Ink painting, therefore, changes through time and also reflects the art producer's experience.

In the concept of creation, the relationship between the landscape sketch spirit and symbolization, metaphor, re-appearance of spirit are discussed. In the process of sketching, intuitive expression is to present the well-formedness and vigor of the depicted. Symbolization is a form of self-reawaking by means of experience involvement. Metaphor denotes a skill of transferring a value from one thing to another, while spiritual re-appearance refers to the sudden insight coming from the accumulation of sense experiences. Through the means, brush and ink, an ink painting art work is cultivated from the nutrition of the spiritual experience.

Art production combines mind and matter. Art works of Mind, as exemplified in “All Reflected within the Mind”, and “Demise and Rebirth, the Incessant” convey the reflection and recollection of contemporary time, space and technology. Pieces of Matter, such as “Thou Art Almighty” and “Behold the Scenery in Bao-Lai”, on the other hand, portray some endemic culture or natural wonders. Through the media of ink painting, we make possible the surrealistic work of mind, and the sketch-based, mental projection of matter. Ink painting works is produced through the artists’ spiritual experiences and metal process. It corresponds to the time as well as it paints the zeitgeist.