朱友意陳逸鋒Chen I Feng2020-12-102018-7-252020-12-102013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0698600242%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115503此創作研究命名為《詩意哲學的圖像建構》，旨在探討「詩意」，如何在視覺圖像中建構詩意的存有與詩意的體驗，筆者藉由巴舍拉現象學探討詩意象與藝術史脈絡來探究自身創作的圖像建構。要理性分析詩意如何顯現並不容易，與其釐清詩意為何，不如將焦點放在詩意的感受，既是回到詩意感的本身。「詩意」之所以能夠被感知，其因是情境的接受，它並不會突然出現，而意圖獲取詩意感，必先進入情境之中、沉溺於其中，迴盪在清新的詩意象裡，並持續的誇大。 現象學物質的本質探究，在詩意體驗中不具任何意義，唯有囊括在情境之中的物質才有被認知的價值，對於場所與物質的想像必須是先於思維的。在筆者的創作中，表現形式的建立乃是承載詩意象的關鍵，藉由藝術史脈絡的探討，得以釐清筆者創作形式的源頭。從文藝復興的線性透視、新現實主義攝影的形象特寫、學院藝術畫科階級的破除、寫實主義的形象肖似、塞尚的圖象知覺統合、李希特漠然情感的照片繪畫等……皆影響了筆者繪畫觀念與繪畫形式表達。在「空間」與「白」系列創作中，作品皆以油畫為主要媒材，而材料的運用在本文也是探討的重點，基底材的選用、塗底層的程序、繪畫層的製作和保護層實驗，皆與作品所傳達的訊息有緊密連結。 在「空間」與「白」系列的創作中，筆者以簡潔的色調與形體塑造一種純粹的視覺經驗，其內無繁雜的符號象徵，單純的視覺結構更能體驗到細膩的物質，進而顯現出筆者的創作態度與生活價值。The creation of this research is “Construct the Image of Poetic Philosophy”. It is to investigate how the poetic can be constructed and experienced through visual art. The artist use “phenomenology of Gaston Bachelard” to explore the skeleton of poetry image and art history. By doing so, the artist would format the image of self creation. Concerning with the difficulty of reveling the poetry logically, source back to poetry itself and it’s feelings would be better. Poetic flavor can perceive due to scenario acceptance, and it would not appear in a sudden. To acquire the poetic flavor, we should enter deep into the atmosphere. To continue, the feelings can be extended and reverberate in the fresh poetic imaginary. It is meaningless to research the nature of phenomenology in experience of poetic flavor. It is only when substance includes inside the scenario that has the value to be cognized, besides, the imagination of space and substance should go former than thinking. The creation of form of expression is the transition point of poetic flavor. Through the investigation of art history’s skeleton can clarify the fountainhead of artistic form. There are several impact factors of artist’s mentality and painting form expression: from linear perspective of Renaissance, image close-up of Neorealism photography, painting class eliminate of academic art, image resemblance of Realism, image perception’s integration of Paul Cézanne, photo painting of Gerhard Richter’s indifferently emotion and so on. The working series of “Space” and “White” use oil painting as a main media. The use of materials is also an important issue discussed in this research. From the substrate’s select, primer layer’s process, painting layer’s produce, and protective layer’s experiment, are all closely connected with the art works. The artist use simple hue and form to model a pure visual experience in these series of works. It’s better to experience delicate materials from pure inner symbolic and simple visual structure. Furthermore, it would reveal the artist’s creative attitude and value of life.詩意現象學迴盪Poetic FlavorPhenomenologyReverberate