萬物有靈之漢字造型創作研究

Abstract

本論文試圖從萬物皆有靈性的思維中探索「靈」的造型形式，以此照應於漢字創作之中，將無生命的字符活化，成為生物或是具生物特質的「靈」。第二章文獻探討部分，首先自萬物有靈相關理論探索其思想根源與影響層面，進而定義萬物有靈的概念與範圍，並將漢字造形相關學理作一探討，以了解漢字造形創作之基本原則。第三章為本論文主要論述部份，將萬物有靈相關造形作收集分析，得出之造型手法為：原型、象徵、變形三者；並將相關的漢字造形創作整理歸納，以展現漢字造形的靈力。第四章則為創作主題與作品解析，以自然與動物為題，發展出一系列的漢字造形，並將之應用於海報或月曆等設計項目中。 萬物有靈在設計領域還有很多的發展空間，不只是平面設計上的應用廣泛，在多媒體或立體上也有許多的創作可能性，甚至在商業設計中，也已廣泛為人所用。本論文選擇以漢字作為媒材，用作以表現萬物有靈的思想，乃因其數量龐大、題材豐富，而且象形字的圖像化特質，更增加它在造型創作上的可看性。This study attends to discover the forms of life from the thought of everything-having-its-life. Life is applied to designs of Chinese characters, while un-living characters are transformed into new creatures or living forms alike creatures. First I would seek the origin and influences of related theories about everything-having-its-life, and then define the concept and ambits it. Afterwards I would discuss related theories about the Chinese character, in order to realize tree principles of designing Chinese characters, which are archetype, symbol and deformation. The main discussion is aimed to collect and analyse features showing the life, while I developed Nature and Animals two series of Chinese characters, and applied to design items such as posters and calendars later. There are still many possibilities in developing designs of everything-having-its-life. It is put in use widely not only in graphic design but also in media and three-D forms, even in commercial design. Because of the advantages of amount, aplenty subjects and hieroglyphic iconography, the Chinese character is chosen as the expression to the thought of everything-having-its-life in this study. They bring much more richness in creating forms of Chinese characters.