見觀經圖：影像世代的東方媒材創作

Abstract

五感，是主體認識外在世界的重要感官系統，而視覺又與平面藝術最為相關。隨著人造影像鋪天蓋地的佔據視野，創作思維、議題關注與形式等，於東方媒材創作有著怎樣的表現，是筆者專注所在。藉著社會學家的論述，深刻審視半虛擬社會下的生活樣態與心理感受，進而探討當代東方媒材創作者的與影像社會的互動，乃是第二章的內容。在第三章，筆者回歸自身創作思維與形式的反思。「以類古典形式統合日常奇異影像」之創作模式為筆者面對碎片化社會的方式，其中關於「類古典」的探討，筆者借鑑了十七至十九世紀，傳往日本並接受文化交匯的畫譜、技法書著作。以當代人後見的視角而言，這些內容正處於現代視覺形式與古典視覺形式的交叉口，透過探討線條、造型、漸層與反覆等視覺元素在和刻本、當代視覺經驗、筆者自身創作中的詮釋角度、形式差異，理解類於古典又或者趨向當代視覺的決定性因素為何、如何依據作品表達需要良加運用、筆者對東方媒材又抱持什麼樣的認知，是本章的重要探討。至於第四章，則進行個別系列作品的發展軌跡與思維釐清，以客觀反思的方式確認個人思維與作品形式的對應關係；最後於第五章結論。本文借上述研究，對自身所處社會文化、藝術脈絡節點進行觀察與理解，以跳脫創作的主觀與直覺性，並協助未來的創作深化。The five senses are essential sensory systems through which individuals perceive the external world, with vision being particularly associated with two-dimensional art. In the context of Eastern media art creation, I focus on how creative thinking, thematic concerns, and forms are expressed. Drawing on sociological discourse, I delve into examining lifestyle patterns and psychological experiences within a semi-virtual society, subsequently exploring the interaction between contemporary Eastern media artists and the image society, which constitutes the content of the second chapter.In the third chapter, I reflect on my own creative thinking and forms. The creative mode of"integrating everyday bizarre images with classical forms" serves as my approach to confronting the fragmented society. In discussing "classical forms," I draw inspiration from Chinese painting manuals and technical books that were transmitted to Japan during the 17th to 19th centuries and underwent cultural exchanges in Nagasaki. From a contemporary perspective, these contents lie at the intersection of modern and classical visual forms. By exploring visual elements such as lines, shapes, gradients, and repetitions, and interpreting them in the context of woodblock prints, contemporary visual experiences, and my own creations, I seek to understand the determining factors that lean towards classical or contemporary visuals. This understanding helps in effectively expressing artistic needs and shaping my perception of Eastern media art.Chapter four delves into the development trajectory and conceptual clarity of individual series of works, confirming the corresponding relationship between personal thoughts and artistic forms through objective reflection. Finally, the conclusion is drawn in chapter five. Leveraging the aforementioned research, this paper observes and comprehends the societal and cultural nodes within which it exists, aiming to transcend subjective and intuitive aspects of creation and assist in deepening future artistic endeavors.