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研究生:汪菁
研究生(外文):WANG, CHING
論文名稱:罣礙的心靈—汪菁的水墨創作
論文名稱(外文):A Load on One’s Mind — Wang Ching’s Ink Painting Works
指導教授:李義弘李義弘引用關係
指導教授(外文):Li Yi-Hong
學位類別:碩士
校院名稱:國立臺北藝術大學
系所名稱:美術學系美術創作碩士班
學門:藝術學門
學類:美術學類
論文種類:學術論文
論文出版年:2005
畢業學年度:94
語文別:中文
論文頁數:50
中文關鍵詞:心靈
外文關鍵詞:Mind
相關次數:
  • 被引用被引用:1
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  • 評分評分:系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔系統版面圖檔
  • 下載下載:43
  • 收藏至我的研究室書目清單書目收藏:3
摘要

在都市生活中,電視媒體的傳播報導、快速的網路資訊、便捷的交通,拉近了人與人之間的距離。但狹小的生活空間、忙亂的生活步調,卻沒有縮短人與人之間心靈的距離。駭人聽聞的社會事件,以及日益增多的自殺事件,還有越來越多的憂鬱症患者,成了社會、家庭的不定時炸彈。這些問題,突顯出人們心中失落的價值體系須待重建。面對充滿失望的事件與衝突,許多人身心一時無處安頓,不知甚麼是努力的方向,於是產生焦慮、痛苦、失望、不信任、無力感、對生命失望…等現象。
作品《罣礙的心靈》系列即是在這樣的背景下,欲將生活在現代都市中的人們,對環境、現象、事物、情感等有所執著,使得內心產生的痛苦、煩惱現象,藉由象徵的詮釋手法,表現這種難以言傳的內心現象,並用圖像的語彙來突顯出現代人日益嚴重的負面情緒問題。
身、心關係的經驗是我畫作形象建立的源頭。因為一個活生生的個體,心靈與身體是同時存在的。就實際生活經驗來看,「心靈影響身體,身體制約著心靈」。比如身體不好,使得心情不好,產生悲觀、厭世的心理,是屬於身體影響心靈的情況。心靈操控身體活動,並影響身體的功能和狀態。像是羞愧使人臉紅、緊張使人坐立難安、悲傷使人流淚…。故從心靈感受的經驗為形象營造的基礎,而後藉由身體和心靈相互作用的關係營造形象,並以結合物象與人體作為象徵的方式,詮釋心靈複雜的變化。
第二章分別從「人體」、「以物喻人」傳統的表現方式探討,並與個人創作環境及藝術追求相比較。再探討人體與物象結合的形式特徵與意涵,並說明結合的方法。
由於作品乃是創作者的生活環境、處世態度、價值觀等生命與生活的投射。第三章就個人生命體認與作品的關係約略陳述。
第四章將作品的創作意涵,就象徵的內容與方式,以及人的表現、用色、畫幅外型尺寸、框等形式的表現意義作說明。並分別闡述每幅作品所營造人體和物象結合的意義、水墨材質的情意表現。
此篇論述,從環境及人的醒思作為創作的主題,探討時代的變遷,個體身體和心靈的變化。並以物質與精神結合的表現方式,來對照身體和心靈密不可分的關係。作品以人體與物象結合作為象徵,融合筆墨情感,詮釋心靈複雜而微妙的變化。冀求作品貼切的反映出周遭的現象與現代人的情感。
Abstract

Life in the city via television media new reports, Internet high-speed information flow, and convenient transportation has drawn people closer and reduced the distance between people. However it narrows the lives of people and unbalances the steps of life so it has not actually reduced the distance between people and their minds. A shocking event is that day by day there is an increase in the number of suicides, also more and more people are suffering from the melancholia (depression) and while socially successful they are a walking time-bomb when at home. When these problems appear unexpectedly cause people to lose faith in their value system and must consider reorganizing them. When facing disappointing events and conflicts many people are unable to find a peaceful interlude within themselves, they have no focus and this results in anxiety, pain, disappointment, a sense of untrustworthiness, feelings of uselessness and discontentment with life, etc.
Under such background, the series of work “A Load on One’s Mind” are anticipated to represent the urban people who cling to their environment, things, articles, emotions, etc. that in turn caused internal pain and turmoil by using the technique of symbolic interpretation to convey the inner world which is hard to explain in words or to make a clear expression. In addition, it also adopted the visual imagery to address the issues that are becoming a serious problem for people today.
The body and mind related experiences are my image establishment source, because the mind and body exist together in the form of a living individual. Let’s look at practical life experiences, “the mind affects the body, the body restricts the mind”, so for example if the body is not well then the disposition is not good which results in pessimism and a negative attitude for an individual. This is a situation where the body influences the mind. The mind controls the body’s movements and therefore affects the body’s functions and conditions. So when embarrassed a person will blush, when nervous person will be unable to sit still, and when a person is feeling miserable they will cry. *Therefore what the mind experiences will build a “concept foundation” so that the connection between the body and mind will mutually affect each other to build a concept, symbolically unifying the physical image and human body, interprets the complicated changes of the soul.
The second chapter is studied the traditional method of the “thing that defines a person" and the “human body" respectively, and compares the individual’s motivational environment and the artistic pursuance. Furthermore, it is probed into the special characteristics of form and meaning that melded the human body and the objectives.
Because the work itself is a projection of the author’s living environment, attitude towards life and his/her values. The third chapter is a brief narration of the relationship between personal life experiences and life itself.
The fourth chapter is explained the meaning of the portrayal of this piece, specifically the meaning of the piece, as well as the symbolic content and technique thereof, and the portrayal of people, colors employed, the size of the painting and the frame. Then individually elaborating on the significance on the melding of people and objects within the paintings, as well as the emotional expression revealed by the water-ink and other medium used in the painting.
This thesis is discussed the author’s choice of themes in his/her creations from environment to the reflections of people, investigated changes in the times, as well as physical and spiritual changes in the individuals. He/She also is employed the technique where he/she brought together the medium and the spiritual to illustrate the intimate relation between body and the mind. Utilizing the symbolism derived from the combination of the human body and external phenomenon, blended with emotions as shown through ink and brush to expound upon the complex and subtle changes of the soul. The paper is investigated the author’s excellent job of exploring the surrounding phenomenon and the emotions of people today.
目錄
目錄…………………………………………………………………………… i
圖版目錄……………………………………………………………………… ii
摘要…………………………………………………………………………… iii
英文摘要……………………………………………………………………… v
前言 ……………………………………………………………………………vii
第一章 緒論:創作動機與目的…………………………………………………1
第二章 結合人體與物象作為象徵的水墨創作思維……………………………6
第一節 人體與心靈象徵 ………………………………………………………6
第二節 「以物喩人」與心靈象徵 ………………………………………………8
第三節 人體與物象合而為一的象徵手法 ………………………………………11
第三章 生命的體認與作品的關係 ………………………………………………15
第一節 生活環境與創作 …………………………………………………………15
第二節 處世態度及價值觀與創作 ………………………………………………16
第四章 作品分析 …………………………………………………………………17
第一節 創作意涵 …………………………………………………………………17
第二節 作品說明 …………………………………………………………………19
第五章 結語 ………………………………………………………………………25
參考書目 ……………………………………………………………………………28
附錄一、阿膠的使用報告 …………………………………………………………29
附錄二、圖版 ………………………………………………………………………31
參考書目

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2. 朱光潛,美學再出發,台北:丹青圖書有限公司出版,1987。
3. 徐復觀,中國藝術精神。台北:台灣學生書局,1998。
4. 陳傳席,中國繪畫理論史。台北:東大圖書股份有限公司,1997。
5. 曾錦坤,心靈與身體—傳統關係探論。台北:渤海堂文化事業有限公司,2002。
6. 葉朗,中國美學的具擘。台北:金楓出版有限公司,1987。
7. 藍劍虹,回到史坦尼斯拉夫斯基—人作為一種技藝。台北:唐山出版社,2002。
8. Jung (Carl G. )主編,鞏卓軍譯,人及其象徵。台北:立緒文化事業有限公司,2000。
9. Le Bot (Marc)著,湯皇珍譯,身體的意象。台北:遠流出版事業有限公司,1997。
10. Stanislavski(Konstantin)著,史敏徒、林陵譯,斯坦尼斯拉斯夫基全集第二卷。北京:中國電影出版社,1985。
11. Stanislavski(Konstantin)著,鄭雪來譯,斯坦尼斯拉斯夫基全集第三卷。北京:中國電影出版社,1985。
12. Kenneth Clark,The Nude:A Study In Ideal From, Princeton:Bollingen,1990。Clark (Kenneth )著 ,彭小劍、董惠宇 譯,人體藝術論-理想形態研究。四川:四川美術出版社出版,1991。
13. 李鴻儒,膠彩畫顏料知多少。台灣美術期刊:國立台灣美術館,1989年10月。
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