偽中文偽知識—中國藝術風

Abstract

本研究探討的是藝術創作者在偽知識的基礎上進行創作所會產生的現象及延伸產生的問題。許多藝術創作都是建立在不穩固的知識基礎上，有時是因為當時的客觀環境限制造成創作者知識的缺乏，有時是因為創作者主觀的取捨造成既有的知識架構受到扭曲，有時是這兩個因素同時發生。創作行為其實就是創作者從他生活環境所學習到的知識或是經歷過的事物中，主觀篩選出他所關注的區塊之後，再重新組織出新的知識架構。因此，藉由釐清創作者在這知識架構重整過程所遇到的問題，並進而探討知識演化與重建的歷程，將可作為創作思考的依據。本論文首先以十七世紀西方創作者在缺乏東方資訊的狀況下所創造出來的中國藝術風、台夫特陶及偽中文為切入點，探討藝術創作者依循其原有認知觀點將新資訊轉化為新知識的這個再現過程所發生的形變現象，其次以文化再現、視覺心理學及基模的論點探討偽知識與藝術創作之間的關係，最後透過創作的方式探討虛構想像的實踐。研究結果發現，想像依然是從已知的事物發展出來，人們在整合不同知識架構時，是透過兩端重疊之處產生延伸推論，創作者與觀者之間，也是需要擁有某些共識才得以順利地進行溝通，所以不同的知識架構在進行重整時，雖然創作者的主觀意識決定了作品最後呈現的狀態，但是創作者依然需要考量知識演化的運作模式，才能夠建構出「偽知識」的「知識」。

This research explores the artists working method on the basis of pseudo-knowledge. Many artworks were created by artists who don’t have solid knowledge basis. Sometimes, it’s due to objective reasons, some environmental conditions might make the artists in lack of certain knowledge. Others were due to subjective reasons, the artists might make some choices subjectively which might make the knowledge structure distorted. In some cases, it might happen simultaneously. The act of creating artworks is about artists themselves choosing certain part of their experiences or knowledge subjectively, and then they reorganize a new knowledge structure from it. Therefore, by clarify the problems that the artists encounter during this knowledge reconstruction period and explore the knowledge evolution and reconstruction process could help the artists to build up the foundation of the creative thinking. First of all, this article took Chinoiserie, delftware, and pseudo Chinese as entry points, which were made by the 17th century artists who were in lack of eastern information, to investigate the representation deformation phenomena occurred while the artists transform new information into new knowledge according to their cognition perspective of their original knowledge. Secondly, investigate the connection between pseudo-knowledge and artwork creation from cultural representation, visual perception psychology, and schema’s aspect. Finally, explore “Pseudo Existence” by creating art works. The result of this research shows that imagination still comes from the things that are already known. When people are reconstructing different knowledge structure, they still need to build up further inference through the overlap area of the both ends. Creators and viewers also need to hold some consensus to communicate with each other smoothly. Therefore, although artists’ subjective consciousness decides artworks final status while viewers were reconstructing different knowledge structure. In order to build up the “knowledge” of “pseudo-knowledge”, artists still have to consider how knowledge evolution works.