臺灣博碩士論文加值系統

以梳理自己過往一路的創作形式，在既有嚴謹的創作方式和慣性思維包覆與粉飾太平的壓抑式創作中，習慣讓自己的作品，在創作裡呈現一種完形狀態，雖然有著美好女性形貌外在的創作表現，其實是隱含著一種刻意建構美好外在的粉飾，但卻是有著內心與外在矛盾衝突的壓抑。

自己想重新以陶土媒材的創作，將在生活裡與創作中，不曾提及的原生家庭生命經驗，述說隱匿於內心父親酗酒、暴力、憂鬱下的成長心路，將屬個人曾經情緒中的狀態，所累積衍生成的內在陰影，化為具體形象的輪廓造形概念，做為新的創作表現形式。希望在一次次形塑中，輸出封存於內在困擾已久的情緒障礙，藉由述說生命經驗中曾經的情緒，以陶土雕塑重新觀看自我，也重新給予自己在創作形式上另一種呈現的可能和自由。

透過在這些生命經驗元素裡重新汲取養份，而於創作中凝煉出內在情感的真實面對與自覺，建立新階段的自我，從新認識自己和自己的創作、自己身處的環境、自己的意志，探求自我存在的價值。在這些思維脈絡下，牽引我更加堅定，朝更純粹雕塑性的手法表現，重新認識體會陶土媒材的物理性特質與變化的心境，將創作意念與自我自覺意識的內在情緒揉合，直接情感表露，只為單一形塑，讓情緒噴發在雕塑形式的創作中，讓其所釋放的情緒化為具體造形，在視覺中能夠更明確被看見。

而正視面對過去不好的情緒陰影包伏，找到真正能自在淡然面對生命繼續的方向，相對釋放被封存已久的負面能量，藉以激發自己不再陷於拘泥、束縛，且能夠在創作當下隨意念順勢發展，回歸生命情感的簡單與純粹，如同泥土材料回復於物質本身的純粹，不再有過多遮蔽與掩飾，以全新的角度體驗陶土，而浸潤於創作中時得到更多的想像發展與自由。

關鍵字：情緒、輪廓、陶塑

By sorting out my creative forms in the past, I analyze the rigorous way of creation. Under the covered inertia thinking and within the whitewashed oppressive creation, it is customary for me to present the works in a perfect form in the creation. The creative expression of beautiful female appearance implies a deliberate construction of beautiful exterior whitewash, but there is a repression of internal and external contradictions and conflicts.

In order to re-create the art works of clay material, I narrate my original family life experience which has never been mentioned in my life and creations, and I express the growth of my mentality through the emotions towards my father's alcoholism, violence and depression hidden in my inner heart, transforming the accumulated and derived emotional shadow from the state of my personal past emotions into a concretely specific image concept of the emotional outline as a new form of creative expression. I hope that the long-disturbed emotional obstacles enclosed in the heart can be output in the repeated moulding process. By narrating the emotions, my self will be re-viewed in the clay sculptures, which also give me another possibility and freedom to present in the form of creation.

Through re-drawing nourishment from these elements of life experience, I can establish a new stage of self from the true face and consciousness of condensed inner emotions in creation, re-recognize my self and my creation, my surrounding environment, my will, and explore my value of self-existence.

Under these thinking contexts, I am more determined and more purely sculptural technique-oriented, and re-understand the physical characteristics and changing mood of the clay materials, combining the creative ideas with the inner emotions of self-consciousness, expressing the emotions directly. It is only a single shape, allowing my emotions sprayed in the creation of sculpture forms, so that the emotions released by them are transformed into concrete shapes, which can be seen more clearly in vision.

Facing the shadows of the past bad moods, I find the direction on the road towards the continuation of life freely and indifferently. I release the negative energy stored for a long time so as to stimulate my self to stop being stuck in the bondage and restraint, and to be able to freely follow the stream of my ideas at the moment of creation for returning to the simplicity and purity of life emotions, just as the clay material, returning to the purity of matter itself and no more so much concealment and disguise, experiencing the clay from a new viewpoint, getting more imagination development and freedom while immersed in the creation.



Key words: emotion, outline, shape, pottery

摘要 I
Abstract II
目次 IV
圖目錄 VI
第一章 人生的禮物 1
第一節 遇見陶 1
第二節 凝結情緒 3
第二章 粉飾太平 6
第一節 柔軟的依附 6
第二節 慣性思維的包覆 9
第三章 在情緒中爆炸 11
第一節 生命中不可承受之輕 11
第二節 逸出框架 14
第四章 自我覺察 22
第一節 尋找 · 我是誰 23
第二節 內在的聲音 25
第三節 面對 26
第四節 顯影共存 30
第五章 邁向釋然 38
參考文獻 41

專書
1.許皓宜（2018）。《情緒陰影》。台北市：遠流。
2.林語堂 (1971)。《林語堂思想與生活》。台北市：德華出版社。
3.史作檉（2007）。《雕刻靈魂的賈克梅蒂》。 台北市：典藏藝術家庭。
4.蘇珊·大衛 Susan David, PhD (2017)。《情緒靈敏力》（齊若蘭譯）。台北市：遠見天下文化。
5.恩斯特·格賽羅（1862-1927）。德國著名的藝術史學家、社會學家，公認的現代藝術社會學奠基人之一。
6.凌嵩郎（1982）。《 藝術概論》。台北：全冠彩色印刷。