森羅萬象 如實人間－白志棋水墨創作論述

Abstract

本論所欲探討的命題，來自於個人水墨人物畫創作過程中的各種疑問與發 想。所欲解答的是筆者自學畫以來即求索難解關於水墨畫的「當代」;遂藉此論， 運用西學哲理之「現象學」海德格「存有學」之論述方法，結合水墨畫上承本有 的文化特質與精神內涵。待釐清並確立個人的創作思想信念後，運用從習於諸位 老師的技法，再將個人之眼見心念昭然揭示於畫紙之上。首章緒論簡介筆者學習歷程，接著提出個人對當代水墨畫之問題意識;主張 以海德格《存有與時間》作為探索研究之依據。第二章簡介現象學核心思想與發 展演變;面對台灣文化處境，從後殖民主義到存有學面向切入思考。第三章運用海德格存有學描述台灣文化特色，嘗試對李奇茂和于彭兩位水墨 人物畫家進行存有學分析，章末提出論述心得與確認創作方向。第四章聚焦於個 人畢業創作內涵與方式，第五章作出結論。「現象學」的意義是「讓那顯示自己者，正如其顯示自己般地被看見」，此 學即「覺」是所謂看清楚的過程。那麼，海德格的「存有學」就是以「此有」來 看清楚世間一切的「存有」的過程。這與大學的「修身、齊家、治國、平天下」 的進程是相同的。筆者認為，具備了看清楚的能力，才具有展現「當代」的可能性。即是海德 格說的「本真」狀態─要如何從人云亦云的「人人」中脫穎而出?這樣的狀態換 一種說法或許看起來是「不合時宜」的。 有趣的是，佛教中的「菩薩」即是覺有情之義，「覺」是自覺覺他;也就如 上述的「存有學」一般，是從個人「此有」出發清楚感受世間一切「存有」的過 程。另外，在李長俊的杜象研究《蒙娜麗莎的鬍子》認為，杜象的 Dada 指的是 佛教中「施無畏者」的觀世音菩薩，也有其獨到的推論。 「森羅萬象.如實人間」個人水墨人物畫作品的呈現，筆者主要就是在上述 的思想背景下，根據自己所身處的時間、空間、人與人之間，以水墨媒材和技法 畫出自己眼前所見的「森羅萬象」，表達自己內在的「如實人間」。 每一部佛經的開頭，都有「如是我聞」四個字，用來標示佛典的紀錄者─阿 難尊者的那種負責任態度，「我當時聽到佛陀是這樣說的」。「如實人間」筆者所 強調的也就是在於它的「如實」感受而非「據實」的表象。The propositions to be discussed in this thesis come from various questions and ideas in the process of my personal Chinese ink figure painting creation. What I want to answer is what the"contemporary" of Chinese ink painting is.I will utilize the "phenomenology" of Western philosophy like Heidegger's "ontology" and the inherent cultural characteristics of Chinese ink painting to reveal my ideas and creative motivation. The first chapter introduces my learning process, and then puts forward my personal awareness of contemporary Chinese ink painting; I advocates Heidegger's”Being and Time”as the basis for exploration and research. The second chapter introduces the core ideas anddevelopment of phenomenology; discussing the cultural phenomenon in Taiwan, from post-colonialism to ontology.The third chapter uses Heidegger's ontology to describe Taiwan's cultural characteristics, and tries to carry out an ontological analysis of two Chinese ink figure painters, Li Qimao and Yu Peng. The fourth chapter focuses on the connotation and method of personal graduation creation, and the fifth chapter concludes. The meaning of "phenomenology" is " let that which shows itself be seen from itself in the very way in which it shows itself from itself " This study, namely "awareness," is the so-called process of seeing clearly. Then, Heidegger's "Ontology" is the process of seeing clearly all "beings" in the world with "this being". This is the same as the way of" Uitimate Wisdom form Liji"(禮記.大學)"cultivate the self, regulate family, govern the state ,then lead the world peace". I believes that only with the ability to see clearly can we have the possibility of "contemporary". It is the "authentic existence" state that Heidegger said—how to stand out from the "the they" who is echoing what others say? In other words, sometimes may seem "inappropriate". Interestingly, the "Bodhisattva" in Buddhism is the meaning of feeling sentient beings. , in Li Changjun's study of Duchamp "Mona Lisa's Beard", he believed that Duchamp's Dada pointed to Avalokitesvara Bodhisattva who "gives the fearless" in Buddhism, and he also has his own unique inference. The presentation of my personal Chinese ink painting works of " Various Phenomena Appear • Worldly Reality " is mainly based on the above-mentioned ideological background, according tothe time, space, and relationship between people, using Chinese ink media and techniques to draw in front of my eyes. The"various phenomena appear " you see expresses your inner "world reality ". At the beginning of each Buddhist scripture, there are four words "Thus I heard", which is used to mark the decision-making attitude of the recorder of the Buddhist scriptures, Venerable Ananda, "I heard the Buddha said this." "Truth in the world." Bangkok, as emphasized by myself, presents its " reality " feeling rather than its "truthful" appearance.