妖怪、陰影與個體化—曾冠樺繪畫創作論述

Abstract

本篇論文試圖以「妖怪」為主題，並以古今中外的妖怪、神仙、鬼、妖精、童話傳說⋯⋯等等故事為藍本，成為創作論述的主軸。本文對於神仙鬼怪是否真實存在，抱持存而不論的中性態度，而是將重點放在：「妖怪的形象為人心狀態的的一種顯現」，透過相關理論的研讀以及系列創作的探索，期望能更加了解群體、體察自身，進而達到思考激盪與自身療癒的目的，並開發出自身的創作語彙。本篇論文將會在第一章介紹整體論文的架構規劃，並闡述筆者的研究動機以及執行方式。而在本文第二章將會以藝術人類學、社會學和心理學脈絡切入，先以藝術人類學的角度探討妖怪傳說生成的原因，接著本文會引用瑞士心理學家卡爾 · 榮格（Carl G. Jung, 1875-1961）的心理學理論，並針對其中的「陰影」（shadow）、「個體化」（Individuation）等論述進行討論。在此章節中也會試圖推敲妖怪故事發生的社會背景，其中會特別以馬克思（Karl Marx, 1818-1883）「異化」（Alienation）以及馬庫色（Herbert Marcuse, 1898-1979）「單向度的人」（One-Dimensional Man）等理論，探討筆者所認為的現代人「妖化」現象。關於妖怪藝術作品中的圖像演繹和美感表現，將會在第三章進行探討，其中會整理相關藝術創作的系譜，並針對其風格美感進行討論。在本文的第四章、第五章將進入筆者本人的創作脈絡中：第四章先梳理妖怪系列的個人化意義，再針對創作技法和造型發想歷程進行討論，並在媒材表現和實踐上加以記錄、分析。經過上述理論的整理與分析，第五章接著以不同的子系列分別探討，筆者以《妖怪異域》為整個系列的主題，結合前述的心理學與社會學討論，以相應論述和圖像符號的延伸，在情境創作與風格開發的雙重面向下整合出個人的創作思路。This dissertation explores the theme of"monsters" and utilizes ancient and modern stories of monsters, gods, ghosts, fairy tales, and more to discuss a series of artworks. The dissertation maintains a neutral stance on the actual existence of gods and ghosts, instead focusing on "the image of monsters as a manifestation of the human psyche." Through the examination of relevant theories and the exploration of a series of creations, it aims to deepen my understanding of the community and myself, encourage profound introspection and self-healing, and develop a unique artistic style.The first chapter serves as an introduction, outlining the motivation and purpose behind my creative work. It briefly explains the methodology, scope, and limitations of the creative process. In the second chapter, I delve into the perspectives of art anthropology, sociology, and psychology. Initially, I explore the origins of monster imagery through the lens of art anthropology and subsequently reference the psychological theories of Swiss psychologist Carl G. Jung (1875-1961) concerning the concepts of"shadow" and "individuation." This chapter also delves into the societal backdrop of monster narratives, particularly considering Karl Marx's (1818-1883) theory of "alienation" and Herbert Marcuse's (1898-1979) concept of the "one-dimensional man." These theories are employed to discuss the psychological phenomenon of modern individuals "becoming monsters". The third chapter delves into image interpretation and aesthetic representation of monster artworks. Here, I compile the lineage of relevantartworks and analyze their aesthetic styles. Transitioning into my own creative context, the fourth chapter explores the personal significance of the creative series. It analyzes drawing techniques, processes, and media used in the creation process. The fifth chapter then proceeds to elaborate individual artworks. Taking"Monsters in Outlands" as the overarching theme of the series, I integrate the prior discussions on psychology, sociology, and iconology. Through this integrated approach, I present my individual creative concepts within the realms of situational creation and stylistic development.