消逝的存在-以廢墟為場景的感通創作研究

Abstract

廢墟無所不在，或許沒人注意到，在你四周，甚至內心隱蔽處，便有一片廢墟，它因種種理由而彷彿隱形。廢墟不單是一堆瓦礫，而是感受，是意境，詩人和畫家超出功利和道德的框架，看見其中源源不絕的生命力。廢墟之美，在「人」觀看的角度。歐洲十八世紀，美學家從經驗美學的角度發展出一種「如畫美學」來品評廢墟，影響所及，甚至曾經在英國興起過「造廢墟運動」。 筆者喜歡駐足在廢墟中思索廢墟，雖然已經荒煙蔓草人去樓空，但時間的痕跡，仍不斷的從各個角落滲透出來，像是處在無聲的環境中，一種無法抑制的呼喚從記憶深處湧現，與筆者的生命相呼應。正是如此使筆者開始了這一系列關於廢墟的創作及探究。 本論文研究的領域是探討廢墟創作的精神內涵，共分六個章節如下：

第一章 緒論：包含研究動機、目的、範圍與方法。 第二章 創作的理論基礎：就本論文創作所用到的學理部分，進行深入分析研究，前三小節依序就「藝術中的感通」、「廢墟之美」、「藝術中的象徵」分別論述，第四節則針對以廢墟為題材進行創作的藝術家的作品進行介紹。 第三章 創作理念分析介紹：從初見廢墟的感動，到加入感通與象徵手法的創作運用作逐一分析。 第四章 創作內容與形式：就作品形式與技法做詳細介紹。 第五章 作品解說：從創作思考、作品內容對每件作品逐一分析，表達個人對廢墟建物的關懷和生命的探討，同時也剖析個人在創作中所表達的作品含義。 第六章 結論：總結創作研究之感想與省思。

Ruins can be found everywhere, yet perhaps not that noticeable. There is a ruin around you, externally and internally. For some reasons, the ruin becomes indiscernible. A ruin is not simply a bloc of rubble, but a bloc of sensation, a sort of Befindlichkeit ("being in a mood"). The poets and painters transcend themselves away from the practical and moral frames, and see a constant continuum of vital force. The beauty of the ruin depends on how the “Men” view the artwork. In the 18 century, the anesthetists in Europe, from the empirical aesthetic perspective, sought to develop a sort of “aesthetics of the picturesque” to evaluate the ruin, which, so significant as it was, had a “movement of inventing the ruin” in Britain. I like to stay in the ruin to meditate on the ruin, though desolate and devastating, from which the time trace will constantly emerge from every corner, like in a tranquil environment where a sort of irrepressible calling emerges from the abyss of memory and corresponds to my life. Therewith begins the series of artworks thematically pertaining to the creation and exploration of ruins. The present M.A. thesis attempts to explore the core essence of ruin artworks; it is divided into six chapters: Chapter 1: Preface – covers the research motivation, purpose, scope and methodology. Chapter 2: Theory – probes into my artworks from the theory that the thesis touches upon. The first three sections subsequently concern “the synesthesia in arts,” “beauty of ruins,” and “symbols in arts,” followed by the fourth section that attempts to introduce the artists’ artwork thematically on ruins. Chapter 3: Analysis on the concept of the works – seeks to analyze my works from the affective move of my initial sight of the ruin to the synesthesia and symbolic techniques. Chapter 4: Form and content – demonstrates a detailed introduction concerning the form and content of the artworks. Chapter 5: Work explanation – examines in details each piece of artwork from the idea of the work and the work content in order to address the personal attention to the ruin buildings and the life exploration. Meanwhile, it attempts to examine the meaning of the work. Chapter 6: Conclusion – sums up the reflection and reconsideration of the work analysis.