跳到主要內容

臺灣博碩士論文加值系統

(44.200.140.218) 您好!臺灣時間:2024/07/19 02:53
字體大小: 字級放大   字級縮小   預設字形  
回查詢結果 :::

詳目顯示

: 
twitterline
研究生:崔 逸
研究生(外文):Tsui Yi
論文名稱:迷霧之後 −崔逸繪畫創作論述
論文名稱(外文):Behind The Fog - The Art Statement by Tsui Yi
指導教授:梁莉苓梁莉苓引用關係
指導教授(外文):Liang, Li-Ling
口試委員:謝鴻均黃銘祝
口試日期:2023-11-14
學位類別:碩士
校院名稱:國立清華大學
系所名稱:藝術與設計學系所
學門:藝術學門
學類:應用藝術學類
論文種類:學術論文
論文出版年:2023
畢業學年度:112
語文別:中文
論文頁數:78
中文關鍵詞:油畫複合媒材象徵符號原生家庭歸途
外文關鍵詞:oil paintingmixed mediasymbolprimary familyhome
相關次數:
  • 被引用被引用:0
  • 點閱點閱:8
  • 評分評分:
  • 下載下載:1
  • 收藏至我的研究室書目清單書目收藏:0
本論文研究的主題「迷霧之後」為探討個人於研究所(2021年-2023年)創作之作品,以受到家庭及自身生命經驗的影響,並透過觀察受躁鬱症所苦的患者、照顧者的角度,將他們面對的壓力、無助、憂鬱、迷失等心情描繪出來。並試圖敘述如同躲藏在茫茫霧氣之後自我壓抑及在焦慮情結下產生的感受,並閱讀藝術及心理學相關文獻來分析自身作品的發展脈絡。
第一章「緒論」,闡述本論文之研究動機與目的及研究方法與內容。透過觀察周遭的人事物與自身生命經驗,並以最珍視的原生家庭為創作起點,面對在自我壓抑及焦慮情結下產生的感受。透過「文獻探討」與「創作實踐」兩種方法,來進行本論文之研究。第二章「創作思維的開展」,回顧原生家庭中的成長記憶,並運用人格結構理論中自我防禦機制的「壓抑」與「移置」作用,梳理情緒並整理個人創作運用的相關元素,包含「轉向象徵」、「模糊與唯美」及「寫實與抽象」的內容解析,透過象徵元素、唯美及寫實與抽象之間的手法,梳理自身在油畫中所使用的創作形式。
第三章「創作理念與手法」,內容解析個人創作理念之外,在形式上探討個人生命經驗及繪畫語言的轉變,以及符號的選擇與表現。第四章「作品分析與詮釋」,解析「迷霧」、「歸途」、「舞台」、「Cover Me」系列的理念與形式,以「迷霧之後」為主題做為分析自身創作作品的論題,描述畫作中表達內心意向的轉化過程, 從象徵脈絡的延續到符號的轉變逐一剖析。 第五章「結論」,回顧與檢討既有的研究成果,並提出未來可發展的創作方向。
In my thesis, "Behind the Fog," I probe into the artworks crafted during my master's degree (2021-2023), drawing inspiration from both familial and personal life encounters.
Through observing the perspectives of individuals afflicted with bipolar disorder and their caregivers.Emotions of pressure, helplessness, melancholy, and loss are intricately described, capturing a complex interplay of self-repression and anxiety concealed within an expansive fog.This exploration is complemented by a study of relevant literature in art and psychology, contributing to the analysis of the evolution of my artistic creations.
The initial chapter, titled "Introduction," delineates the research motivation, purpose, methods, and content of this paper. This exploration is complemented by a study of relevant literature in art and psychology, contributing to the analysis of the evolution of my artistic creations.
By keenly observing the individuals and elements in my surroundings, drawing from my own life experiences, and using my cherished family as a creative catalyst. Facing the emotions arising from self-repression and anxiety knots. By employing both 'literature review' and 'creative practice' methods, this thesis conducts its research.
Chapter 2, "Development of Creative Thinking," delves into childhood memories within the family context. It leverages the "suppression" and "displacement" functions of the self-defense mechanism in personality structure theory to categorize emotions and assemble pertinent elements for personal creative expression. This Including the analysis of 'symbolic turn,' 'ambiguity and aesthetics,' and 'realism and abstraction,' this examines the creative forms employed in my oil paintings through the techniques involving symbolic elements, aesthetics, and the interplay of realism and abstraction."
Chapter 3, titled "Creative Concepts and Techniques," not only dissects personal creative concepts but also delves into the evolution of personal life experiences and painting language. This chapter scrutinizes the selection and expression of symbols.
In Chapter 4, "Analysis and Interpretation of Artworks," the analysis extends to the concepts and forms encapsulated in the "Mist," "Home," "Stage," and "Cover Me" series. Anchored in the theme "Behind the Mist," this chapter scrutinizes my creative works, unraveling the transformation process from the continuity of symbolic context to the metamorphosis of symbols.
In Chapter 5, titled "Conclusion," a comprehensive review of the research results is conducted. Furthermore, the chapter proposes potential creative pathways for future development.
謝誌··················································································································································i
摘要····················································································································································ii
Abstract··················································································································································iii
目次·······················································································································································v
圖目次···············································································································································vii
表目次·······················································································································································x
第一章 緒論····································································································································1
第一節 研究動機與目的·······································································································1
第二節 研究方法與內容·······································································································2
第二章 創作思維的開展···········································································································4
第一節 原生家庭的印記·······································································································4
一、 成長記憶·················································································································4
二、 壓抑與移置············································································································5
三、 尋找出口·················································································································7
第二節 繪畫的語言與形式··································································································9
一、 轉向象徵·················································································································9
二、 模糊與唯美··········································································································12
三、 寫實與抽象··········································································································13
第三章 創作理念與手法·········································································································19
第一節 處在迷霧之中·········································································································19
第二節 表露與遮蔽··············································································································21
第三節 符號的選擇與表現·········································································································24
一、 鳥巢、蝴蝶、 標本·························································································25
二、 玻璃·························································································································25
第四章 作品分析與詮釋·········································································································28
第一節 「迷霧」系列············································································································28
第二節 「歸途」系列············································································································34
第三節 「舞台」系列············································································································47
第四節 「Cover Me」系列··································································································52
第五章 結論·································································································································70
參考書目················································································································································72
附錄一 2023年「迷霧之後」-崔逸創作個展·························································74
林群英著。《藝術概論》。台北市:全華科技圖書股份有限公司,1999。
黃麗絹著。《台灣現代美術大系-西方媒材類抒情抽象繪畫》。台北市:藝術家出版社,2004。
劉昌元著。《西方美學導論》。台北市:聯經出版公司,2017。
黃希庭編著。《人格心理學》。台北市:東華出版,1998。
張愛玲編著。《金鎖記》。中國黑龍江省哈爾濱市:哈爾濱出版社,1943。
劉永仁編著。 《見微知萌→台灣超寫實繪畫》。台北市:台北市立美術館,2014。
恩斯特・貢布里希(Sir Ernst Hans Josef Gombrich)著,楊思梁、范景中編選。《貢布里希文集:象征的圖像》。中國上海:上海書圖出版社,1990。
查爾斯・查德威克(Charles Chadwick)著,張漢良譯。《象徵主義》(Symbolism)
。台北市:黎明文化事業股份有限公司,1973。
黛西・皮特金(Daisy Pitkin)著,楊雅婷譯。《飛蛾撲火:兩個女人組織工會的故事》。台北市 : 春山出版有限公司,2023。
米蘭達・布魯斯・米特福德、菲利普‧威爾克森(Miranda Bruce-Mitford &Philip Wilksinson)著,李時芬、林淑媚譯。《符號與象徵:圖解世界的祕密》(Signs & Symbols, an illustrated guide to their origins and meanings)。台北市:時報文化,2009。
吳前芊著。《禁錮與逃逸——張愛玲小說的幽閉意象研究》,新竹市:國立清
華大學碩士論文,2019。
馬修・威爾遜(Matthew Wilson)。〈蝴蝶:朝生夕死的至美象徵〉,《BBC NEWS中文》網站。〈https://www.bbc.com/zhongwen/trad/world-58844463〉。瀏覽日期2023/10/5。
艾莉莎・蒙克斯(Alyssa Monks)。〈「失去」如何幫助一名藝術家尋找不完美中的美〉。《TED》網站,〈https://www.ted.com/talks/alyssa_monks_how_loss_helped_one_artist_find_beauty_in_imperfection〉。瀏覽日期2023/09/06。
達里安・梅德羅斯(Darian Mederos)。〈DARIAN MEDEROS〉。《Conde Contemporary》網站,〈https://www.condecontemporary.com/darian-mederos〉。瀏覽日期2023/10/17。
郭軔。〈師大教授郭軔,談新視覺主義,郭軔精通中西文化及藝術史發展,是台灣藝術理論大師。〉,《Youtube》網站。〈https://www.youtube.com/watch?v=HtQons2o0AI&ab_channel=%E9%99%B3%E4%B8%96%E5%80%AB〉。瀏覽日期2023/10/17。
連結至畢業學校之論文網頁點我開啟連結
註: 此連結為研究生畢業學校所提供,不一定有電子全文可供下載,若連結有誤,請點選上方之〝勘誤回報〞功能,我們會盡快修正,謝謝!
QRCODE
 
 
 
 
 
                                                                                                                                                                                                                                                                                                                                                                                                               
第一頁 上一頁 下一頁 最後一頁 top
無相關期刊