臺灣博碩士論文加值系統

在本創作論述中，「空間」有許多的層面，它可以代表內心世界裡抽象的空間，也可以代表立體雕塑創作在摸索的真實的空間。而空間的內外關係則對應到，個人內心的想法與外在環境之間的關係。

現實與理想不可兼顧，人們可以選擇逃離充滿壓迫的城市生活，但因為有太多無法放下的事物，使的人們把自己困在城市當中。因此城市裡的高樓大廈對我來說代表了壓抑、無法逃脫的狀態，我將建築物的門、窗、樓梯等元素抽取出來運用在作品中，用以探討我個人內心與外界之間的關係。其中窗口為最重要的圖像，因為它能直接連接空間的內與外。

外在的環境與個人內心的感受，兩者之間交互影響，激盪出一件件的作品。本創作論述中的創作使用陶土進行創作，把陶土當成一項創作用的媒材，不同於大部分的陶土製品皆有上釉，我的創作只有局部上釉，減少過多的色彩，凸顯雕塑創作在立體空間上的表現。

現實的狀態完全取決於我們看待事情的角度，面對個人與外界的關係，我被自己給困住。每次創作都是對自己進行一次提問，並透過創作論述深入分析，發現那些隱藏在作品背後內心中真實的想法。在探討本創作論述詮釋的作品後，所有現實中的難題也全都迎刃而解。唯有真正的了解自己，才能坦然的接受所有艱難的抉擇。

In this analysis, there are various aspects to the concept of “space”. It can represent the abstract space of the inner world. It can also represent the process of exploring actual space when creating three-dimensional sculptures. The internal and external relations of space correspond to the relationship between the inner thoughts of the individual and the external environment.

The reality and the ideal cannot both exist. People can choose to escape from oppressive city life. However, since there are many things that cannot be set aside, people are trapped in the city. To me, the city’s high-rise buildings represent a depressing and inescapable state. I made the doors, windows, and stairs of city structures more prominent. I then used these altered structures in my works to explore the relationship between my inner world and the outside world. The window is the most important image because it is able to directly connect inside and outside space.

The interaction between external environment and inner feelings inspired every piece. In this analysis, clay is used to produce creative works. Unlike most clay products, which are glazed, my creations are only partially glazed, reducing excess colors and highlighting the appearance of the sculptures in three-dimensional space.

Reality depends entirely on the way we look at things. In relating to the outside world, I felt trapped. Every time I create something, I asked myself questions. Through in-depth creative analysis, I discovered the inner thoughts that are hidden behind my work. After examining all the works discussed in this analysis, all life’s difficulties are resolved. Only by truly understanding oneself can one calmly accept all life’s difficult choices.

目次

謝誌·······················································I
中文摘要···················································II
英文摘要··················································III
目次······················································IV
圖次······················································VI
表次····················································VIII
一、緒論····················································1
1.1創作動機················································1
1.2創作目的················································1
1.3研究方法················································2
1.3.1田野調查法···········································2
1.3.2文獻分析法···········································2
1.4我對陶的看法·············································2
1.5雕塑的色彩··············································3
二、文獻探討·················································5
2.1內心與環境之間的關係······································5
2.2真實的時間與意識的綿延····································7
2.3相關藝術家探討···········································9
2.3.1八木一夫·············································9
2.3.2亨利·摩爾···········································11
2.3.3雷內·馬格利特········································14
三、創作探討················································18
3.1創作的起點·············································18
3.1.1理念與形態的連結·····································18
3.1.2最初的創作─〈摩天樓〉·································21
3.1.3高樓建築理念的轉變····································22
3.2創作媒材與技法··········································23
3.2.1「陶」··············································23
3.2.2「粉引」與「刷毛目」··································23
3.2.3釉藥探索············································25
3.3創作元素解析············································31
3.3.1窗口的意涵··········································31
3.3.2相似的整體造型·······································31
四、作品解析················································38
4.1深海城堡···············································38
4.2下陷的平面·············································40
4.3山頂上的人·············································41
4.4方框裡的天空············································43
4.5路標的方向·············································46
4.6迷····················································48
4.7孤獨的星球·············································50
4.8交錯的圓···············································52
4.9 001與100·············································54
4.10山頂上的樹············································56
4.11奇怪的訪客············································58
4.12永無止境的路···········································60
4.13海浪的聲音············································62
五、結論···················································63
參考文獻···················································65

參考文獻

中文書目
日日編輯部(2012)。日日‧中文版no.1，38-39。臺北：大鴻藝術。
尤昭良(2013)。創造與變現，現代繪畫的柏格森風。暖暖書屋文化事業股
份有限公司。
何政廣(2005)，亨利‧摩爾。石家莊：河北教育出版社。
林文昌(2003)。色彩計劃。臺北：藝術圖書公司。
陳奎憙(2015)。教育社會學導論。臺北：師大書苑有限公司。
陳瓊花(2011)。藝術概論。臺北：三民書局股份有限公司。
熊偉(1994)。現象學與海德格。臺北：遠流出版事業股份有限公司。
藝術家雜誌編輯(1989)。亨利摩爾藝術全集。臺北：藝術家出版社。

翻譯書目
史德海、蔡春輝(譯) (1988)。榮格心理學入門（原作者：C.S.Hall &
V.J.Nordby）。臺北：五洲出版社。
李長俊(譯)(1985)。藝術與視覺心理學(原作者：Rudolf Arnheim)。台北
市：雄獅圖書公司。(原著出版年：1954)
吳書榆(譯)(2015)。阿德勒心理學講義（原作者：Alfred Adlre）。臺北：經
濟新潮社出版。
吳瑪悧(譯) (1991)，保羅‧克利：生活與作品（原作者：克里斯提安‧哥
爾哈爾），台北：藝術家出版社。
洪翠娥(譯) (2007)，星星還沒出來的夜晚（原作者：Michele Lemieux），台
北：大田出版有限公司。（原著出版年：1996）
高年生(譯)(2016)，城堡（原作者：Franz Kafka）。新北市：新雨出版社。
(原著出版年：1926)
符泉生(譯) (1993)，西洋近現代巨匠畫集：馬格利特（原作者：貝爾‧吉
姆費）。臺北：錦繡文化企業。（原著出版年： 1986）
楊晶、李建華(譯) (2014)。現代陶藝─八木一夫前後（原作者：海上雅
臣）。香港：三聯書店(香港)有限公司。
劉占梅(譯)(2001)。藝術大師世紀畫廊第56 冊：現實的超現實。馬格利特
（原作者：Anonymous）。臺北：閣林國際圖書有限公司。

期刊論文
張玉筠(2006)。談似是而非的圖像與詮釋問題。造形藝術學刊，185 -
196。
莫詒謀(2005)。柏格森的自由思想。哲學與文化，5，13 - 28。
蔡宛歆(2017)。靜止的存在—從間隙中窺看時間(未出版之碩士創作論
述)。國立高雄師範大學，高雄市。
劉慧容(2008)。虛實空間在視覺藝術表現形式之探討(未出版之碩士論
文)。國立屏東教育大學，屏東市。
鄺芷人(2009)，柏格森的生命哲學。宗教哲學，49，87 - 104。

網路資料
維基百科(2017)。亨利·柏格森。2017年10月09日，取自：https://zh.wikipedia.org/zh-tw/%E4%BA%A8%E5%88%A9%C2%B7%E6%9F%8F%E6%A0%BC%E6%A3%AE
京都国立近代美術館(n.d)。碑．妃。2018年05月30日，取自：http://search.artmuseums.go.jp/records.php?sakuhin=154500
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川口武亮(n.d.)。2018年05月30日，取自：http://takeryo.com/utsuwa/u017.html
Jynto(talk) (2008)。File:Oval with Points.jpg。2017年10月05日，取自：
https://commons.wikimedia.org/wiki/File:Oval_with_Points.jpg
K11 Design Store(2016)。COBO Social。2017年09月28日，取自：https://www.k11designstore.com/blog/category/cobosocial/
STORM KING ART CENTER(n.d)。2017年09月23日，取自：http://stormking.org/artist/louise-nevelson/
TATE(2013)。2017年10月05日，取自：
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The Art Institvte of Chicago (2017)，On the Threshold of Liberty，2017年10月04日，取自：http://www.artic.edu/aic/collections/artwork/110970
WIKI ART(2017)，The treachery of images。2017年10月04日，取自： https://www.wikiart.org/en/rene-magritte/the-treachery-of-images-this-is-not-a-pipe-1948
YouTube(2017)。ラビリンス。2017年09月15日。取自：https://www.youtube.com/watch?v=_2quiyHfJQw