蜃觀 — 鏡像中的境與象
No Thumbnail Available
Date
2011
Authors
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
本研究試圖釐清東、西方對「虛實」的態度：一是中國古典美學如何從虛實論中發展出「意境」、「意象」等傳統水墨發展的重要核心；二是從結構主義的研究方法上了解西方對虛實關係的觀點、理解拉岡如何自索緒爾符號學出發，延伸出由「鏡像理論」和「伊底帕斯情結」構成的「主體理論」，並嘗試以兩者的觀點與藝術創作產生連結。
在藝術的表現形式上，由於當代「現成物」的使用，較容易引導觀眾快速的融入情境，因此選擇多位能在運用裝置藝術的手段下，成功的以符號及隱喻的交互作用，融入「鏡像」的概念來表現的東方的藝術家及作品作分析，並比較其隱喻手法、媒材、主題風格及和觀者所扮演的角色等之不同。
最後以個人對所處當下的體悟，以生活化的題材—浴室為虛實運用的場域，配合以現成物及平面水墨、陶版之創作，試圖引導觀者改變慣有的觀看方式，並藉由其表現，在不經意的情況下成為旁觀者觀畫時的一部分、亦「完整」了作品隱藏的寓意。而如何在不造成「意義超載」的情況下，引起觀者的共鳴、了解創作者欲傳達的抽象概念是筆者關心的課題之一。
This research attempts to clarify the viewpoint of the East and West on the “nihility” and "actual situation". At first, how did classical Chinese aesthetics develop "mood" and "image" which are the important core of traditional ink painting from this theory about nihility and actual situation. The other hand, I seek to realize the relationship between nihilism and practicality from western point of view by the structuralism method, and figure out how did Lacan get the idea from Saussure’s Semiology to extend the "the main theory" which is composed of "mirror stage" and "Oedipus complex". After that, I try to combine these concepts with art works. As an Art performance, the use of contemporary "ready-made objects" are easier to draw the audience into the situation quickly, so I select 6 Eastern artists who are can make the successful interaction with symbols and metaphors, especially to represent the "mirror image" concepts to works by installation art. In the analysis, I compare the materials such as metaphor, media, themes and the roles played by the viewers, etc. in their creation works. Finally, I use the bathroom image for an actual situation field by ready-made objects, ink painting and ceramic version, and try to guide audiences to change their usual way of viewing. Thus, the viewers could become the part of paintings inadvertently, in the meantime, it also "complete" the implication of works. However, how to engage viewers to understand the abstract ideas that artists want to convey without "significant overload" is one of the issues that I really care about.
This research attempts to clarify the viewpoint of the East and West on the “nihility” and "actual situation". At first, how did classical Chinese aesthetics develop "mood" and "image" which are the important core of traditional ink painting from this theory about nihility and actual situation. The other hand, I seek to realize the relationship between nihilism and practicality from western point of view by the structuralism method, and figure out how did Lacan get the idea from Saussure’s Semiology to extend the "the main theory" which is composed of "mirror stage" and "Oedipus complex". After that, I try to combine these concepts with art works. As an Art performance, the use of contemporary "ready-made objects" are easier to draw the audience into the situation quickly, so I select 6 Eastern artists who are can make the successful interaction with symbols and metaphors, especially to represent the "mirror image" concepts to works by installation art. In the analysis, I compare the materials such as metaphor, media, themes and the roles played by the viewers, etc. in their creation works. Finally, I use the bathroom image for an actual situation field by ready-made objects, ink painting and ceramic version, and try to guide audiences to change their usual way of viewing. Thus, the viewers could become the part of paintings inadvertently, in the meantime, it also "complete" the implication of works. However, how to engage viewers to understand the abstract ideas that artists want to convey without "significant overload" is one of the issues that I really care about.
Description
Keywords
虛實, 拉康, 隱喻換喻, 鏡像理論, 現成物, nihility and actual situation, Lacan, metaphor metonymy, Mirror Stage, ready-made objects