三生石意象:蔡揚威創作論述

Abstract

三生石意象創作係以客觀的物象，經由創作者獨特的情感活動而創造出來的一種藝術形象。簡單地說，就是寓「意」之「象」，以石寓意、以石傳情，達到借物抒情。三生石意象從「感物生情」到「窮情寫物」，由意而象的創作過程，亦是「觀物取象」呈現「天地有大美」、「萬物皆有情」，由象而意的觀賞過程，即為「意」與「象」交織的三生石。 本創作跳脫了原外在物的具體形象，注入了「符號」、「挪用」、「對比」、「延伸」、「比例」及「變形」等形式手法，得以「象外求象」，改變了原傳統水墨的創作框架，注入當代的感性語彙，交織主觀「意」的內容意涵，注入《紅樓夢》的文學思想與三生石佛教故事的哲理觀點，試圖走出自身創作的新面貌。作品主要綜合了膠彩、水墨、水性蠟彩等東西方媒材，在二維的畫面經由透視和明暗投影出三維空間作品，最後並列同一三維空間物象，利用色彩造形、構圖形式及東方特有聯屏的呈現方式，注入了時間序列，表現出東方四維空間藝術新意象，分別代表「前生」、「今生」及「來生」的視覺詮釋。 三生石意象創作包括《三生三世系列》及《娑婆世界系列》兩系列作品，為筆者對生命循環更迭與今世眾生色象的詮釋，係意與象的交織，理論與實踐的結合，創作形式與內容的統一。本文分為六大部分：第一章、緒論；第二章、三生石意象創作表現分析與探討；第三章、三生石於四維空間藝術的表現研究；第四章、創作形式與內容分析；第五章、創作實踐與作品解析；第六章結論。經由以上各章節的探討研究，筆者試圖引西潤中，調和中西，探索當代水墨發展的各種可能性，投入自身情感思想，結合當代自然環境和時代意識，架構出自身的創作內涵，期能發展出一套自我闡述的創作風格。The Imagery of the Stone of Tribirth involves the creation of artistic forms through unique affective activities based on objective object images. The work consists of images that convey meanings, and emotions are expressed using stone, achieving an object-based lyricism. The Imagery of the Stone of Tribirth is based on emotions felt through feeling objects and depicts objects with utmost passion; the creative process that involves applying meaning to images is also one that presents the world through aesthetic imagery. The work shows that “nature has its own great beauty” and “all objects imply feelings.” The creative process of this work inspires an appreciation of meanings and images. This work goes beyond the concrete forms of the original external objects and injects formal approaches related to symbols, appropriation, contrast, extension, proportion, and deformation so as to present “an image beyond an image,” thus changing the original creative framework of the traditional ink wash while imbuing the work with a contemporary vocabulary of sensitivity. The work interweaves connotations of subjective meaning and is infused with the literary ideas of Dream of the Red Chamber and the philosophical views of the Buddhist story of the Stone of Tribirth. As such, it represents an attempt to create a new style. The work mainly integrates Eastern and Western media such as gouache, ink, and Encaustic Cuni, a water-soluble paint. The third-dimension work is projected through perspective based on the representation of light and darkness in a two-dimensional picture, and the work is finally juxtaposed with the same images of the third object dimension. A time sequence is presented using colored shapes, composition, and the representation of associated panels characteristic of the East. This expresses new imagery of the fourth dimension of Eastern art, representing visual interpretations of past life, present life, and the next life. The Imagery of the Stone of Tribirth consists of two series of works: “Life After Life” and “Saha World.” These works show the author’s interpretation of the cycle and alteration of life as well as the appearance of all sentient beings. They represent the interweaving of meanings and images, the combination of theory and practice, and unification of form and content. This essay is divided into six parts: Chapter 1, Introduction; Chapter 2, Analysis and Discussion of Expressions in the Imagery of the Stone of Tribirth; Chapter 3, Expressions of the Fourth Dimension in the Art of the Stone of Tribirth; Chapter 4, Analysis of Creative Forms and Content; Chapter 5, Analysis of the Works and Practice of the Imagery of the Stone of Tribirth; and Chapter 6, Conclusion. Through this essay, the author attempted to draw on Western ideas to embellish Eastern ideas, reconcile Eastern and Western ideas, explore diverse possibilities related to the development of contemporary ink, expand their own emotions and thoughts, and combine the contemporary natural environment with a consciousness of the times to give structure to their own creative connotations. Through this work, the author hopes to develop a creative style based on self-elaboration.