「身體場域」之繪畫創作研究

Abstract

一個人不多不少就是他的一系列行徑的總合，足見人與世界的關係最主要是靠身體、行動來建構，然而作為意識而存在的人，他的存有必須是怎樣的一種存有方式，才能夠是虛無所藉以進入世界的中介呢? 沙特的自由哲學，自為身體對自在身體的虛無化，以焦慮做為一種內在否定關係，身體成為與情境交錯的場域，列維納斯的異質性他者理論，強調他者的非自我同一性，他者與我們共同存在於世，我與他者的關係是先於他者與我的關係，唯有藉由與他者建立有愛的倫理關係才能使我們從孤寂裡逃離。這種絕對自由的自我選擇的決定，使身體行動與意識心靈形構在一起，身體也因此開顯出存有的意義。本論文「身體場域」之繪畫創作研究，筆者從藝術史及存在哲學的文獻中加以分析，開展出一種兼含具象寫實與主觀表現的創作手法、以時間重疊解構時間延續的情境空間以其達到以物質真實表現非物質真實的訴求，建立身體靈視的理論體系，作品以赤裸裸的創作母題顯示出卸下所有形式、面具，直接讓身體訴說情慾藉以完成心理學上的自我完整，恥感情緒讓藝術的作品擁有了更為激烈的構圖語彙，體現了人意識所創生的種種欲望，創造出另類自畫像以繪畫記錄失去的層層感傷，透過具象表現的繪畫手法闡釋兩個系列作品：幽禁的靈魂與他者。

藝術的目的並非純粹只是向外追求世界知識，而是反思人自身的問題，畫家所要傳達的真實是超出於感官表象是一種無聲的真實，藝術作品成為精神實體，傳達出不可見者的可見形式。期望本研究用以開拓筆者的視野，以釐清思想脈絡、建立理論體系也為關心這領域的藝術愛好者提供更完整的資料和新的見解。A person is more or less the sum of his actions. And his connection to the world is mainly built by his body and actions. However, for a person who exists via his consciousness, what kind of existence it is to become the medium through which nothingness enters the world? Sartre's “philosophy of freedom” illustrates the nihilization of the body to the body-in-itself. Using anxiety as an “internal negation” relationship, the body becomes a field that intertwined with the situation. Levinas’ “Otherness” emphasizes the non-self-identity of the other; the others and us coexist in this world. My relationship to the others is prior to the other's relationship to me. Only through loving ethical relationships with others can we escape from loneliness. This absolutely free decision of self-choice shapes body action and conscious mind together. The body thus opens up the meaning of existence.In this dissertation, the author analyzes the literature of art history and existential philosophy, and develops a creative method that combines “representational realism” and “subjective expression.” By deconstructing the illusionary space of “time situation” with “overlapped time”, the author aims to establish a theoretical system of spiritual vision of the body and to represent “non-material reality” with “material reality.” Let the body tell the lust to complete the psychological self-integrity, and the feeling of shame creates an intense compositional language for the art works. It embodies the various desires created by human consciousness, and creates an alternative self-portrait to record the lost layers of sentimentality through painting. The author interprets three series of works through figurative painting techniques: The Imprisoned Soul, The Wanderer, and The Other. The purpose of art is not purely to seek knowledge of the world, but to reflect on people's own problems. The truth that the painter wants to convey is beyond the appearance of the senses. It is a silent truth. The work of art becomes a spiritual entity and conveys the visible form of the invisible. It is hoped that this research can broaden the author's horizons, clarify the ideological context, establish a theoretical system, and provide more complete profiles and new insights for art lovers in this field.