禪 與 道 對 20世紀抽象畫的影響--兼論研究者的體驗與表現

Abstract

緒論聚焦於東西方觀點下的禪與道，對其哲學及其對東西方藝術的影響進行相關文獻探究。縱然許多東西方藝術家的創作觀均深受禪與道的思想影響，將二者相互聯結的相關文獻卻極為不足。關於本研究的重要文獻均在此被詳盡地檢視。 第二章研究背景建構在二十世紀受禪與道的哲學觀影響的藝術家，他們對於呈現物質的外在表象不感興趣，而關注於其內在精神性，此即無限的中心。因之，本章在西方部分研究西方藝術家的涉入與觀點，東方部分則僅限於台灣及印度的藝術作品之探究。 第三章重要性與預期結果主要焦注於禪與道的多樣色彩及抽象形式，例如：円相(Ensoえんそう日文音譯)、陰陽、圓、三角形、四方形 及螺旋或拙火(Kundalini梵文)。因此，本章透過不同藝術家作品的線條、書法、色彩、技法及風格來建構其所受到的禪與道之哲學性影響。 第四章是以我個人的藝術經驗、禪與道的內涵及二十世紀抽象藝術家的影響作為基礎。我的藝術學養師承自蘇憲法及蕭瓊瑞二位教授，而集體潛意識此傳承自全人類的原型及來自情感、內在行為的象徵型態引領我向更高境界，而更深層的抽象藝術創作則受到禪與道的哲學觀激發。 第五章主要為對此研究的分析探討。二十世紀美國的藝術家研究書法的筆畫，透過聚焦於禪與道常見的書法作品及直接行動，而走向通往抽象繪畫的路徑。美國藝術家不自限於本身的文化而積極行動，於此期間，書道即為啟發為數不少的抽象表現主義藝術家的靈感源頭。 日本藝術與禪宗居主要影響性地位，肇因於美國的政治及經濟在歷史因素上與日本緊緊相繫，而中國或印度則相對影響性低。特別是歐洲藝術家多受此哲學觀激發，他們的作品構成仰賴瞬間偶然與隨機性，或即興式的手法，以期達到自過去經驗、學院式的窠臼及想像力受意識控制的限制中全然解脫。 二十世紀的眾多抽象藝術其根源是精神性的， 而其ㄧ則包含了神智學運動， 可從本章比較東方性靈系統的許多技法，到比較禪與道的不同冥思技法得知。 結論歸結於禪的無色相與道的放空，因此本研究聚焦於哲學觀的比較與畫作研究觀點而非宗教性的觀點。First chapter focused on the introduction of Zen and Taoism philosophy by Eastern and Western viewpoints. Second part of this chapter investigates the literature review by number of books, novels, research papers, articles of Zen and Taoism philosophy, art influence on east and west. However, several painters from East and West have deeply influenced by this philosophy but there is very less information available about painting and philosophy connection. Some of literature are very important for this research and had details examination in this chapter. Second chapter Research background is constructed on Twentieth century artists, who can be safely said to be influenced by Zen and Taoism philosophy, were not interested in a photographic representation of an object but in interpreting its spirits. It has been Cosmo centric. Therefore this chapter examines western artists and their involvement and viewpoints and for Eastern mainly concern on Taiwanese and Indian artists works. Third chapter of significance and expected outcomes mainly focused on varied colors and abstract forms of Zen and Tao such as Enso, Yin-Yang, circle, square, triangular, spiral or (Kundalini). Therefore this Chapter is constructed on philosophical influence of Zen and Taoism by basic of line, calligraphy, color, techniques and styles by various artists. Fourth chapter is based on my own art experience and an influence of Zen and Taoism philosophy as well as the influence of abstract painters of 20th century. The guidance of my fine art professor Su Hsian-Fa and Hsiao Chong Ray, about collective unconscious, that all humans have common inherited archetypal and symbolic patterns of emotional and mental behavior which took me to the higher levels and in depth in abstract paintings creation inspired by Zen and Taoism Philosophy. Fifth chapter is main analysis of this research. It’s analyzed by number of artist of Europe and America. 20th century’s American artists explored the calligraphic brushstroke, which was an approach to abstract painting that focused on popular writings on Taoism and Zen and its ethics of direct action. American artists were searching beyond the limitations of their culture for motivation. Shodo, in general, served as inspiration to numerous Abstract Expressionist painters of the period. Japanese art and Zen Buddhism dominated in part because America’s political and economic ties with Japan were historically stronger than those with China or India. Especially European artists inspired by this philosophy and their composition were depending upon chance, random accident or highly improvisational execution, typically hoping to attain freedom from the past, from academic formulas and the limitations placed on imagination by the conscious mind. 20th century most of abstract art was spiritual in its origin and one of them was theosophy movement, it can compare with many of spiritual techniques in Eastern systems of spirituality, to compare the different meditation techniques of Zen and Taoism in this chapter. Conclusion is arrived on Zen Philosophy is constructed on Nothingness whereas Taoist philosophy is constructed on Empty mind therefore this research focused on the aspects of comparative philosophical and painting study and view but not religious view.