繪畫中的抽象性與媒介探索

Abstract

本文試探討感性引發的抽象性繪畫創作，從生命之中所經歷並有所體會的事物，透過了某些徵兆，觸發了我們的內在情緒在到一念之間的情感釋放，始於外界給予的刺激，聲音、言語字詞，信仰宗教等都間接的影響著我們視覺、聽覺、觸覺，更從五感、器官上傳遞於大腦，進一步的產生了有別於其他物種的情感知覺，究竟藝術是不是一脈相承的視覺或甚至是知覺的一種累積，又或是透過畫面將情感潛藏在顏料與筆觸的堆積之中，透過不同層面的理論做深入研究與分析， 相信能為此一論題做出一個明顯的輪廓並加以探究。

筆者從藝術史中的繪畫歷程在從室內與室外對於我們觀看的方式的影響，進而改變思想方式而產生作品上的風格變化，也反映了繪畫方式與材料上的各個表現樣貌，其中我們不得不否認藝術除了視覺之外,其中更與感受、知覺有著密不可分的關係，透過彼此的交互牽引，心理學的潛意識、意識流、自動性書寫等側面，啟發藝術創作行為的內在探索，以及西方20世紀戰後對於詮釋與表現，經驗世界與內在精神回歸的辯證過程，梳理、深究心靈層面的衝動究竟能否成為創作的思考動機？透過藝術史與各種抽象概念能夠引證的思考：音樂性的靈動跳躍，詩的想像力賦歸，禪學的虛空與實在、殊異與同源，一與多的哲學思辨。由此回應自身創作探索，在抽象與具體物件之間、實體與背景的交換之間、自然歌詠與內在心識的轉換。 各個不同階段的作品，色彩的溫度，感性筆觸與相應而出的心象符號，在觀與沁入的探索過程中，找到感性抽象所能沉積的深層內涵。並分析抽象作品的精神性和表現媒材的方式，進一步為其中的可能性提出論證思辨的結果分析。

This study tries to explore the abstract painting work caused by sensibility that contains things experienced in life, triggering our emotion to being released in an instant through some signs. The external stimuli, sounds, words and religious beliefs all indirectly affect our vision, hearing, and touch that transmit from the five senses and organs to the brain, further generating emotional perception different from that of other species. It is worth surveying whether art is a consistent vision or even an accumulation of perception, or whether it hides emotions in the accumulation of paint and brushstrokes through pictures; through the in-depth research and analysis of different levels of theory, I believe that we can make a clear outline of this topic and explore it. From the painting process in the history of art to the influence of indoor and outdoor presentations we see, the author changes the way of thinking and thus produces the style change of works. It also reflects the various expressions of painting methods and materials. We have to admit that, except vision, art has a tight relation to the feeling and perception. Through perspectives such as interactive traction across all, psychological unconsciousness, stream of consciousness, automaticity writing, they inspire the inner exploration of art creation behavior and interpretation as well as performance from the West in the postwar 20th century. We wonder whether experimentalism and dialectical process of inner spiritual regression, being combed and dig into spiritual impulse, can become the motivation of creative thinking? Through the history of art, various abstract and quotative concepts includes: the musical leaps, poetic imagination, emptiness and reality of Zen, difference and the homology, philosophical speculations between one and many. This responses to the own creative exploration between abstract and concrete objects, exchanges between substance and background, and transforms between natural singing and inner consciousness. In works of each different stage, colorific temperature, perceptual brushwork and corresponding mental image symbol, have found the deep connotation that perceptual abstraction can deposit in the process of viewing and refreshing,. Through mutual traction, can the impulse of the soul become the thinking motivation of creation? Through analyzing the spirit of abstract works and the way of expressing media, the author further puts forward the result analysis of argumentation and speculation for the possibility of abstract works.