圓形空間下之複數性衍化－徐兆甫的個人曼陀羅演繹

Abstract

現代人生活在充滿競爭的高壓環境中，常讓人壓抑內在的情緒。長期被抑制的情緒一旦潰堤反撲，則可能會導致負面行為的發生。本創作研究之目的在於企圖透過象徵自性的曼陀羅創作結合東方繪畫的運用，讓情緒得以宣洩紓緩並統整。藉由創作歷程擴充自我內在認知，以產生對外在生活適應更寬廣的包容力。 本創作研究從曼陀羅的意義起源與圖像結構開始論述，並就藝術治療、心靈能量及其轉化的機制進行探討，再以創作實際案例分析整理，運用曼陀羅圖像達到平衡。嘗試從曼陀羅之象徵性、形色質之圓滿性、造形之時空觀，探討其造型美感。親自驗證曼陀羅創作在情緒轉化上的成效，並完成曼陀羅的圖像創作。研究中也探討了關於「自我」、「身體、疾病與文化」及「空間心理治療歷程研究」的文獻，期待從較適切且更具東方空間的意涵來觀看自我與改變。身體與空間是研究者在本研究試圖提出的一個觀看視野。 而從文獻回顧中確實可以看到不論從西方學者的論點或是中國傳統的理論，身體無論與視覺、聽覺、觸覺等關係都密不可分。而身體是一個演示自我的場所，個體在進入到一個心理疾病的醫療領域之後，經由筆者的創作與心理空間的對話，演繹出自我之所在的方式。本研究內容架構分為六章，第一章為緒論，包含了本研究動機與目的、文獻探討、研究內容與方法。第二章將運用原型觀點來探討曼陀羅表現了外部，曼陀羅藝術內容意涵之解讀，與曼陀羅繪畫形象化世界也表現內在精神世界，心即曼陀羅、曼陀羅即道場、曼陀羅是個人當下心象表現，再透過符號系統及多重象徵手法探求其曼陀羅象徵表現。第三章從形式上曼陀羅造形特色之分析，開始分析其形色質特性，造型上分析圖型及方型與十字型、三角型之變化，以完型心理學視覺動力論觀點，說明曼陀羅平面之組合，再來探討其色彩表現與質材之美感。第四章造形參照之詮釋，先探討心理曼陀羅所呈現之立體量感，以及曼陀羅在個人繪畫上與其儀式空間之表現，再說明曼陀羅是一種動態之過程，象徵了流動轉滅人生，另外應用碎形理論來分析現代曼陀羅之創作思維，是一種開放、流動之有機體，其具有自我相似、自我複製、形成與轉化等特性。最後探討曼陀羅藝術傳統之開展與在現代藝術之表現。第五章則是個人作品分析，定位曼陀羅之藝術與個人介入角度之水墨多元，並為曼陀羅藝術創作方法與概念論述與作品造形作一定位與分析，第六章則以分析個人特質下的曼陀羅場域實驗結果並體現以上論述梳理後之創作生活寫照。

Modern people live in a competitive and high-pressure environment, in which we often suppress our emotions. Once the suppressed feelings break out and attack reversely, they may lead to the occurrence of negative behaviors. The purpose of this art production research is to attempt to combine mandala, a symbol of “Self”, with the application of Oriental paintings. Through this attempt, emotions are soothed and re-organized. During the creating process, the inner cognition is expanded for a broader tolerance to adapt to the external life.This art production research first discusses the origin of the meaning of mandala and the image structure, and then investigates the transformation mechanism of art therapy and spiritual energy. Furthermore, it analyzes mandala through the actual cases of the creation, and then uses the mandala image to achieve the balance of inner self and external life. This research tries to discuss the beauty of the mandala regarding its symbolisms, satisfactory of the shapes, sizes and colors and its concepts of universe. The creator verifies the effectiveness of mandala creation in emotional transformation and completes the image creation of Mandala. In this research, the author has also reviewed literature on"Self", "Body, Disease and Culture" and "Spatial Psychological Treatment", expecting to observe Self and the change from a more appropriate view with more meaning of oriental space. In this study, the author tries to purpose a point of view through the body and the space. From the literature review in both the arguments of Western scholars and in the traditional Chinese theories, the body is closely related to vision, hearing, and touch. The body is a place to demonstrate oneself. After anindividual enters the medical field of mental illness, through the author's creation and the communication with inner space, he or she can develop a way to find the Self. This research is composed of six chapters. The first chapter is the introduction, including the motivation and the objectives of the research, literature discussion, research content and methods. The second chapter will explore the mandala’s representation of the exterior with the image of “circle” and interpret the artistic content of the mandala. It also points out that the visualization of the world of mandala paintings also show the inner spiritual world. The inner heart is mandala and mandala is the dojo and the presentation of an individual’s present mindset. The author explore the symbolic representation of the mandala through the symbol system and variate symbolic techniques. The third chapter starts to analyze mandala’s form, color, and quality by looking at the characteristics of mandala in form. The changes between graphs and squares, crosses and triangles will be discussed. In the third chapter, the author explains the mandala plane combination from the perspective of visual dynamics in the Gestalt theory and then discuss the beauty of mandala’s color expression and quality materials. The fourth chapter is the interpretation of the shape reference. The author first discusses the three-dimensional sense of the psychological mandala, and the performance of the mandala in personal painting and its ritual space, and then explains that the mandala is a dynamic process, symbolizing the flow of life and death. In addition, the application of fractal theory analyze the creating motivation of modern mandala. It is an open and fluid organism with the characteristics of self-similarity, self-replication, formation and transformation. Finally, the author discusses the development of mandala art tradition and its expression in modern art. The fifth chapter is the analysis of personal works, defining the art of mandala and the diversity of ink painting under personal intervention. The author positions and analyzes mandala's artistic creation methods, conceptual discourses, and the shape of works. Chapter 6 analyzes the result of mandala field experiments with personal characteristics and also reflects the portrayal of creative life after the above discussion.