胡朝景「自然而然」系列作品發表暨創作論述

Abstract

本研究以筆者的「自然而然」創作研究為主軸，內容包含「人」、「自然」、「表象與本質」的精神性探索，並針對筆者作品的創作過程分別依技法與內容兩方面加以分析。此外，於本研究過程中亦輔以兩個相關研究，包括：「塞尚《水浴圖》精神探究」與「裘利恩˙杜普雷《餵食時刻》臨摹研究」。

依此架構，本文以「創作與理論」作為起點，文中探討創作與理論之間的關係。次為「筆者的創作回顧」，針對筆者創作歷程加以分析，並例舉作品檢討問題與困境。由第四章「『自然而然』系列創作探索－－人與自然」進入本研究之探索主題，論述中包含「自然」的形而下與形而上義涵，以及人與自然的關係，同時藉由筆者的創作研究說明創作探索的構思與創作歷程，藉以印證創作與理論之間的關係。續於第五章「杜普雷《餵食時刻》臨摹研究」中敘述臨摹研究過程，同時分析杜普雷的作品特色與時代意義。另一相關研究為次章「塞尚《水浴圖》精神探究」，主要以塞尚晚期代表作「水浴圖」系列為例，論述其創作追求與「道」的精神對應，並分析塞尚藉由「表象的自然」追求「永恆的自然」的過程與具體方法。第七章為「『自然而然』系列創作探索－－表象與本質」，呼應第四章筆者對「人與自然」的探索，繼續做「表象與本質」上的研究，文中試以康德的「本體論」與老莊的「道」為論述基礎，探索表象與本質的關係，並以海德格與沙特的存在哲學進一步探究人與自然的本質，同時透過筆者的創作實踐，進行對「人、自然、本質」的探索。末於「結論」中總結前文，包含：「理論架構與創作探索的對應」、「本質先於方法」、「創作研究與哲學探索的共通性」等，最後以「本研究的發展性」作結。My series painting entitled “Nature As Such” is the focus of this study. Subdivided into “Human,” “Nature,” and “The Appearance and the Essence,” I’ve conducted philosophical investigations into their meanings, providing an analysis of the techniques used during the process of creative making as well. In addition, two related studies are added as a supplement to this study; they are as follows: “A philosophical study of Paul Cézanne’s “Bathers” and “A study on the Imitation of Julien Dupré’s “Feeding Time.”

Accordingly, the study starts with an introduction, which serves as the first chapter. The second chapter, “Creation of Art and Theory,” probes into the relation between art creation and theory. Chapter three reviews the processof my art creation, analyzing how the series comes into being and discussing on problems or difficulties encountered, with examples provided. Chapter four enters the main theme of this study, featuring the meaning of “nature”, transcendentally and substantially, as well as the relation of man and nature. By demonstrating the creative process of art, the present author also hopes to prove that art creation is related to its theory. With Julien Dupré’s “Feeding Time” as an example, chapter five describes the process of art imitation. The characteristics of Julien Dupré’s art and its historical significance are also analyzed. Another related study, the philosophical study of Paul Cézanne’s “Bathers,” makes chapter six to this study. In the chapter, I describe the ways Cézanne pursuits his art and how his art corresponds to Dao philosophically. An analysis of how Cézanne goes after the eternal nature by way of the physical nature is provided, including its process and its methods. Chapter seven correlates the theme in chapter four but further explores the relation between the appearance and the essence. To do so, the author combines Immanuel Kant’s ontology and the ideas of the Daoist philosophers, Lao Zi and Zhang Zi, as a discursive base to further explore the relation between the appearance and the essence. At the same time, by way of artistic practices, this study also applies Martin Heidegger and Jean-Paul Sartre’s extentialist philosophy to the investigation of the innate character of man and nature. Finally, this study concludes with a discussion on the correspondence between practice and theory, the concept that the essence is prior to method, the common ground between practice and philosophical investigations, and some possible developments of this series as a final touch to this study.