微型中的浩瀚：李怡璇創作論述

Abstract

本研究旨在從探討畫布框架與畫面的協作中，辯證繪畫與觀看間的互為關係。筆者以玻璃球罩的意象取代傳統繪畫中畫框即窗口的概念，試圖形塑出畫面內部的封閉空間，是為一個內部與外部相互辯證的視覺遊戲。藉由將畫布框架比賦於玻璃球之意象，旨在運用平面繪畫靜止不動，且存有於獨立載體之永恆視覺特性，突顯作品作為實在的物件，進而在這個數位圖像高速傳播的時代中，提供觀者安穩的感受，同時也為筆者自身不斷流變的自我意識，提供一個歸屬感。在文獻探討中，首先以圖像學的研究方式蒐集帝王像與宗教畫中的王權寶球或十字聖球符號，梳裡玻璃球的圖像含意，與其材質特性於題材上的詮釋可能。從中意會在藝術中，透明球體作為權力與世界幾何化之象徵意涵，以及其作為觀看媒介的可能，從而輔佐筆者將繪畫作品類比為玻璃球體之意圖。接續以文藝復興時期以降的作品為例，使用風格造型分析法，探討由透視法形塑的空間觀至現代主義的平面性脈絡之演進，體現於造型畫布的使用。從中探求其造型特殊性與題材的畫面視覺呈現間的協作。最後聚焦於圓形畫的歷史脈絡，其功能性與私密性所提供的情感寄託，以導向筆者的創作主軸。筆者試圖跳脫平面繪畫中框架與畫面間的傳統關係，展開一系列的命題；如何將安穩、疏離等抽象矛盾感知以油畫間接技法的具象寫實表現手法呈現；如何以玻璃球的意象取代畫框即窗口的觀念，建構一個同時擁有封閉的內部空間、反射指涉的未知空間與觀者所處的現實空間之三元關係；以及如何激發畫布微型世界中的浩瀚感。從筆者玻璃球圓形畫系列本身的造型意涵分析至畫面元素的構成，闡述筆者如何在矛盾的視覺與精神感知中，試圖探尋一種於框架中的歸屬感。

This thesis aims to explore the dialectical relationship between the canvas frame and the pictorial space it shapes, elucidating the interplay between the painting and the practice of looking. To delineate an enclosed space within the painting, the author replaces the traditional metaphor of the pictorial frame as a window with the imagery of a glass sphere, creating a visual game of dialectics between internal and external space. By conceptualizing the artwork as a glass sphere, the author emphasizes the significance of painting as a tangible object. In this digital age, imbued with the rapid dissemination of images and fleeting uncertainty, the tranquility of the two-dimensional surface and the enduring visual characteristics inherent in the medium provide viewers with a sense of stability, simultaneously fostering a sense of belongingness for the author's ever-evolving self-consciousness. Employing an iconographic research approach, the author investigates symbols such as the globus cruciger found in imperial and religious paintings. The significance of the glass sphere in these depictions, along with its material characteristics, is examined in relation to the chosen themes. The study delves into the artistic representation of the transparent sphere as a symbol of power and the geometricization of the world, as well as its potential as amedium for perception. Subsequently, the discussion moves to scrutinize works from the Renaissance onwards, exploring the evolution of pictorial space, from a perspective-driven spatial perception to the flatness context of modernism, reflected in the use of shaped canvas. At the same time, the collaboration between the distinctive form of the canvas and the visual presentation of the subject matter is explored. The focus then narrows down to the functionality and intimacy of tondo paintings, relating to the author's creative intention. The author endeavors to break free from the conventional relationship between the frame and the pictorial space by initiating a series of propositions: How to materialize the abstract juxtaposition of stability and alienation through the indirect technique of oil painting; how to substitute the metaphorical window frame with the imagery of a glass sphere to explore a triadic relationship between the space within the painting, the outer space indicated by reflection, andthe space viewers situate themselves in; and ultimately, how to evoke a sense of immensity within the canvas as a miniature world. In this paradoxical realm of visual and spiritual perception established by the frame, the author strives to seek a sense of belonging.