繼畢卡索(Pablo Picasso)、米羅(Joan Miró)、達利(Salvador Dalí)之後，位於西班牙東北角充滿神祕色彩的卡達隆尼亞(Catalonia)區又出現了一位舉世矚目的藝術家──安東尼．達比耶斯(Antoni Tàpies, 1923-)。當五○年代中期，他那如「牆」般的「繪畫－物件」(painting-object)甫一出現，立即在歐洲藝壇掀起了極大的波瀾。此後，他的藝術幾乎與「物質繪畫」(Matter Painting)劃上等號，或被視為「無形象藝術」(L’art informel; Informal art)的代表畫家。誠然，達比耶斯對於當代藝術史最大的貢獻，便是在材質肌理的表現上開創了前所未有的新面目，然而大多數研究者往往一味關注於其可見的表現形式，而忽略了「材質」在其作品中所凸顯的意義。事實上，他以類似雕塑造形的增減材質手法所創出的肌理幻象，不僅顯示材質不再淪為線條、色彩的附庸，而是具有獨立表現性的主角，更說明了創作者與作品材質之間的微妙互動，亦是使材質展現生機的重要因素，而此互動尤其涉及創作者所投注於材質的一種精神性。因而本論文所關注的重點，除了以達比耶斯作品中的材質表現凸顯其藝術風格外，亦將深入探討其形式風格背後的真正意涵。
二次大戰後，當整個科學、哲學界都熱衷於探討「物質」的問題時，達比耶斯也開始思考「材質」在其藝術作品中的角色定位，而在藝術形式上有了新的突破。他以堆積、刮擦、充滿人性的符號印記等，讓原本無法自主運動的材質煥發生氣，便是企圖創造一種新的「真實」(reality)，因此「材質」乃是他詮釋「真實」的手段。換言之，在其無形象的肌理幻象背後，其實正隱含著一種「世界觀」(Weltans-chuung; world view)。也正由於這種世界觀，使其作品中的材質不僅恰如其分地凸顯出它的角色，亦適切地傳達出藝術家的創作理念。更確切地說，在其兼具材質的「物質性」與「精神性」的藝術風格中，正體現了他得自現代科學與中國的「自然有機體論」(Natural Organism)或「自然的有機概念」(Organic Concept of Nature)的啟示，而主張捨二元分化的觀點來看待自然宇宙的一種創作思維。正因為他將宇宙萬物視為一個有機的整體，因此在深知物質與精神屬於同一機制，正如易經中所顯示的陰陽互補而同一的原理之下，他亦慣常以辯證手法來表現一種超乎對立的世界。
達比耶斯的強烈使命感，總是使他的作品傳達出一種企圖改造世界的力量。尤其憂心西方傳統文化所面臨的危機，更令他急於提醒世人以一種辯證思維正確而全面地看待「真實」。這也正是為什麼他總是藉著一種寫實手法的極化，暗示我們眼中所見的「真實」並非真正「真實」的原因。而其辯證美學觀便是同時在超越物質精神二元對立的思想下展開的，這其中含有極大的超越與反省的意義。因此，本論文便基於「世界觀」乃是建立作品風格的重要關鍵的觀點切入，企圖將藝術家的心靈與其藝術形式統一起來，並以「超越物質精神二元論」來概括其創作思維、藝術風格、辯證手法及對人生與藝術完美境界的永無止盡的追尋。而在其兼容西方文化的外傾精神與東方文化的內省精神主導下，其作品更被賦予了「人與自然的合一」、「東西方文化的融合」及「人類集體無意識(Collective unconcious)的呈現」之時代意義。

Following the footsteps of Pablo picasso, Joan Miró; and Salvador Dalí;, Antoni Tàpies is another Spanish artist from the mysterious Catalonia who is being spotlighted on stage. In the mid 50's, the European art circle was shocked by Tàpies' wall-like "painting-object." He was regarded as a leading artist of "Informal Art" and his works almost became a synonym of "Matter Painting" since then. His achievement is twofold: initiating a new style of material and making use of texture that the world has never had. Unfor-tunately, many researchers are paying too much attention to his visible style rather than digging out the concealed significance of it. In fact, the illusion of texture he created by method of "increase'" and "subtraction" freed the material from depending on line and color and made it an independent and expressive role. By inspiring a unique spirituality, the subtle interplay between the creator and material caused by this method is considered to be a crucial factor to vitalize the material. Based on the above, my thesis will emphasize not only Tàpies' style but also the significance behind it.
After World War II. both the scientific and philosophical fields are enthusiastic in probing into the core of matter. Tàpies, at the same time, started to ponder on the same issue. As a result, the proper orientation of 'matter' enabled him to evolve a personal style with success. Technically, he uses "piling-up" and "scratch" to make his painting full of humanized prints and signs. By means of this process, the dependent "matter" was vitalized and a new reality was born. In other words, there is a hidden world view behind the informal illusion of texture. It goes without saying that this world view which carries the idea of the artist is making the material the very source of an accurate expression. To be more precise, the style that he created possesses spirituality and materiality of "matter" as inspired by modern science and the "organic concept of nature" which was originated from ancient Chinese philosophy. He strongly believes that the Universe is an organic whole with matter and spirit of the same system.Like the complementary principle of Yin-Yang in I Ching, he rejected Dualism and used Dialectic to bring out senses that go beyond the dualistic world.
Tàpies' convicted mission makes his work convey a strong desire to improve the world. Considering the impending crisis of Western tradition, he tries his best to remind us to treat "reality" accurately and undividedly with dialectic thinking . This is the reason why he always suggests that the visible reality is not true reality by employing a drastic realism different process in his work. In short, his dialectical aesthetics is developed under the thought of transcending the duality of matter and spirit in which transcendence and introspection is fully involved. Having been governed by the concord of his Western extroversion and Asian introspection, his work presents a timely connotation containing: "harmony of human being and Mother Nature," "blended culture of the East and West" and "presentation of human collective unconscious".
The argument of my thesis is thus based on the belief that "world view" is a principal factor of creating the style of works, and intended to unify the mind and style of the artist. Along this line, the subject of "going beyond the dualism of matter and spirit" has generalized an idea of creation, a style of work, a dialectic and artist's unlimited search for the ideal of life and art.

一、達比耶斯本人的著作
La practica de l’art. Barcelona: Edicions Ariel, 1970. French translation: La Pratique de l’art. Paris: Editions Gallimard, 1974.
L’art contra l’estetica. Barcelona: Edicions Ariel, 1974. French translation: L’Art contre l’estetique. Paris: Editions Galilee, 1978.
Memòria personal: Fragment per a una autobiografia. Barcelona: Edtionrial Critica, 1977. French translation: Memoire Autobiographie (Edmond Raillard trans.), Paris: Editions Galilee, 1981.
La realitat com a art. Barcelona: Editorial Laertes, 1982. French translation: La Realite comme art. Paris: daniel Lelong editeur, 1989.
Selected Essays. Eindhoven: Van Abbemuseum, 1986.
L’experiencia de l’art. Barcelona: Edicions 62, 1996.
二、有關達比耶斯的專著及展覽目錄
Abadie, Daniel. Tapies. Paris: Galerie nationale du Jeu de Paume, 1994.
Agusti, Anna. Tapies: The Complete Works. New York: Rizzoli, 1988 (Volume 1, 1943-1960); 1990 (Volume 2, 1961-1968); 1992 (Volume 3, 1969-1975); 1999 (Volume 4, 1976-1981).
Alloway, Lawrence. Antoni Tapies. N.Y.: Solomon. R.Guggenheim Museum, 1962.
Borja-Villel, Manuel J. After Picasso: Tapies, Gordillo, Guenero. New York: DiLaurenti Gallery, 1987.
──. Antoni Tapies: The Matter Paintings. Ann arbor: University Microfilm, 1989.
──. Tapies. Celebracio de la mel. Barcelona: Fundacio Antoni Tapies and Edicions Poligrafa, 1991.
──. Tapies. Comunicacio sobre el mur. Barcelona: Fundacio Antoni Tapies; Valencia: IVAM Centre Julio Conzalez; London: Serpentine Gallery, 1992.
──. Antoni Tapies. London: Waddington Galleries. 1994.
──. Tapies el tatuatge i el cos: papers, cartons i collages. Barcelona: Fundacio Antoni Tapies, 1998.
Catoir, Barbara. Gespärche mit Antoni Tapies. Munich: Prestel-Verlag, 1987.
──. Conversations Antoni Tapies. Paris: Editions cercle d’Art,1988.
──. Conversations with Antoni Tapies (John Ormrod trans.) Munich: prestel-Verlag, 1991.
──. Antoni Tapies Bilder Skulpturen Zeichnungen 1981-1997. Kestner Gesellschaft, 1997.
Cirici Pellicer, Alexandre. Tapies, testimoni del silenci. Barcelona: Edicions Poligrafa, 1970.
──. Tapies-witness of silence, ( trans. Kenneth Lyons ), Barcelona : Ediciones Poligrafa, S.A. 1972.
Cirlot, Juan Eduardo. Significacion de la pintura de Tapies. Barcelona: Edicions Seix Barral, 1962.
Combalia Dexeus, Victòria. Tapies. Barcelona: Edicions Poligrafa, 1984.
──. Tapies. Traduction Francaise de Robert Marrast. Paris: Editions Albin Michel, 1984.
──. Antoni Tapies. New York: The Elkon Gallery, 1989.
Corredor-Matheos, Jose. Antoni Tapies. Materia, Signo, espiritu. Barcelona: Edicions Poligrafa, 1992.
Davvetas, Demosthenes. Tapies. Paris: Editions Cercle d’Art, 1994.
Dupin, Jacques. Antoni Tapies. Papiers et cartons. Paris: Berggruen & Cie, 1963.
Fernandez-Braso, Miguel, Conversaciones con Tapies, Madrid: Ediciones Rayuela, 1981.
Franzke, Andreas. Tapies (John William Gabriel trans.), Munich: Prestel-Verlag, 1992.
──. Tapies. Barcelona: Edicions Poligrafa, 1992. Munich: Prestel-Verlag, 1992 (English ed.).
Gimenez, Carmen. Tapies. New York: Guggenheim Museum , 1995.
Gimferrer, Pere. Antoni Tapies i l’esperit catala. Barcelona: Edicions Poligrafa, 1974.
──. Tapies and the Catalan Spirit. Barcelona: Poligrafa, 1975.
──. Tapies. Paris:Galerie Lelong, 1991.
Giralt-Miracle, Daniel. Antoni Tapies. Barcelona: Galeria Carles Tache, 1991.
Jackson, Martha. Antoni Tapies. New York: Martha Jackson Gallery, 1963.
Lelong, Daniel ed. Tapies-Esprit de papier. Paris: Galerie Lelong, 1998.
Moure, Gloria. Tapies. Extensiones de la realidad. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1990.
──. Tapies - objets du temps. Paris: Editions cercle d’art, 1994.
──. Tapies - obsjets of time. Barcelona: Ediciones Poligrafa, S. A., 1995.
Okada, Takahiko. Antoni Tapies. Tokyo: Fuji Television Gallery, 1991.
Penrose, Roland. Antoni Tapies, Paintings 1945-1965. London: Institute of Contemporary Arts, 1965.
──. Tapies. Barcelona: Edicions Poligrafa, 1977. New York: Rizzoli, 1978 (English ed.).
Permanyer, Lluis. Antoni Tapies. Exposicion retrospectiva. Madrid: Museo Español de Arte Contemporaneo, 1980.
──. Tapies i les civilitzacions orientals. Barcelona: Edhasa, 1983.
──. Tapies and the new culture. Kenneth Lyons trans. New York: Rizzoli, 1986.
──. Tapies i la nova cultura. Barcelona: Edicions Poligrafa, 1986.
Pluchart, Francois. Tapies. Oeuvres recentes. Cannes: Galerie Jacques Verriere, 1966.
Raillard, Ceorges. Tapies. Paris: Maeght Editeur, 1976.
──. La syllabe noire de Tapies. Marseille: Andre Dimanche, 1988.
Wye, Deborah. Antoni Tapie in print. N.Y.: The Museum of Modern Art,1992.
三、有關達比耶斯的期刊及報紙文章
Abadie, Daniel. “Tapies, les icônes du silence” Galerie des arts (Paris), 1969, p.11.
──. “Les Silence d’Antone Tapies” La Galerie des arts (Paris), No.74(July 1, 1969)
Amar, Sylvie. “Tapies. Entretien,” Marrrs. Magazine d’art contemporain, winter-spring 1989, pp.31-33.
Argan, Giulio Carlo. “La superstizione di Tapies”, L’Europa letterana (Rome), no. 3 (June 1960), PP. 215-22.
Ashton, Dore. “Notes from France and Spain,” Art and Architecture (Los Angeles), Nov. 1957, pp. 7, 36-37.
──. “Antoni Tapies,” Art International (Paris) 5, nos. 5-6 (June-Aug. 1961). pp. 46-47
Baron, Jean-Marie. “Antonio Tapies: ‘Je suis un autodidacte qui travaille avant tout pour le plaisir,’” Vogue (Paris), (March 1988), p.11.
Bass, Ruth. “Antoni Tapies,” ARTnews (New York) 81, no. 8 (Oct. 1982), pp. 155, 158.
Beaumont, Mary Rose. “Antoni Tapies,” Arts Review (London), May 6, 1988.
Bouisset, Maïten. “Antonio Tapies, eloge de la Catalogne,” Le Matin (Paris), Nov. 21 1986, pp.27-28
──. “Antoni Tapies. L’art et la matiere”, Beaux Arts Magazine (Paris), no. 55 (March 1988), P. 96.
Borja-Villel, Manuel J. “A Note on Tapies,” Art forum (New York) 24, no. 2 (Oct. 1985), p. 113.
──. “Antonio Tapies on Prints: An Interview,” The Print Collector’s Newseletterr (New York), no.2 (May-June 1992) , pp.46-48.
Cabanne, Pierre. “Tapies et 1’action par I’ecriture,” Combat (Paris), June 10, 1974.
Catoir, Barbara. “Spuren des Gebrauchs und der Geschichte,” Frankfurter Allgemeine Zeitung, Oct. 31, 1979.
──. “Gottloser Mystiker,” Frankfurter Allgemeine Zeitung, Oct. 28, 1980.
──. “Antoni Tapies: Die Sprache der stummen Mauern,” Ambiente (Offenburg), no. 2 (1982), PP. 74-82.
Cembalest, Robin. “Matter of Matter,” ARTnews (New York) 89, no. 6 (summer 1990), pp. 142-47.
Choay, Francoise. “L’ecole espagnole,” L’Oeil (Lausanne), no. 51 (March 1959).
──. “Tapies, mystique du presque rien,” France observateur (Paris), April 30, 1959.
Cirlot, Juan Eduardo. “Explicacion de las pinturas de Tapies,” Destino (Barcelona), no. 949 (Oct. 15, 1955).
──. “Significacion de Antoni Tapies,” Revista (Barcelona), no. 388 (1959).
──. “Antonio Tapies,” Art International (Paris) 4, no. 10 (Dec. 31, 1960), pp. 45-47.
──. “La pintura de Antonio Tapies,” Goya (Madrid), no. 34 (Jan.-Feb. 1960), pp. 233-37.
──. “La Peinture de Tapies,” Quadrum, no. 11(1961), pp. 79-94.
──. “Les Collages de Tapies,” Art actuel international (Lausanne), no. 22 (1962), p. 1.
──. “La obra actual de Tapies,” Goya (Madrid), no. 94 (Jan.-Feb. 1970), pp. 220-23.
Clot, Manel. “Tapies annees 80,” Art Press(Paris), Nov. 1988
Combalia Dexeus, Victòria. “Antonio Tapies: The Artist as Shaman,” View (New York), Feb.-march 1989, pp.67-68
──. “Spanish Art’s New Heirs Apparent: A Love-Hate Relationship,” Art International (Paris), no. 13 (winter 1990), pp. 50-56.
Conil Lacoste, Michel. “Antoni Tapies: D’une gravite a 1’autre,” Le Monde (Paris), Oct. 30, 1969.
──. “Tapies: Peinture carcerale,” Le Monde (Paris), Dec. 15, 1972.
──. “Tapies et le mortier du temps,” Le Monde (Paris), June 15, 1973.
Crevier, Richard. “L’Objet comme objet d’art,” France nouvelle (Paris), no. 1613 (Oct. 11, 1976), pp. 31-33.
Dagen, Philippe. “Tapies, le ‘maîtra a peindre,’” Le monde (Paris), Feb. 28, 1988, pp.1, 14
──. “Tapies, un contemplatif en son seicle,” Le Monde(Paris), Aug. 28-29, 1994, P.32.
Dali, Salvador. “Tapies-Tapies. Clasique-Clasique” (April 1962), ART news (New York) 61, no. 3 (May 1962), pp. 40-41, 67.
Debailleux, Henri-François. “La monnaie de Tapies,” Liberation (Paris), Nov. 28, 1984, p.32.
Duparc, Christiane. “Le Dos au mur”, Le Nouvel Observateur (Paris), no. 159 (Nov. 29-Dec. 5, 1967), P. 47.
Dupin, Jacques. “Devant Tapies”, in Derriere de Miroir, No. 158, nov.1967 p.20.
──. “Poem for Antoni Tapies”, Art International (Paris), no. 13 (winter 1990), p. 48.
Fermigier, Andre. “Des murs d’avenir”, Le Nouvel Observateur (Paris), July 2, 1973.
──. “Le Lit des dieux,” Le Monde (Paris), July 11, 1974.
Ferrer, Pedro Roque. “L’oeil de Tapies sur les pinceaux de Miro,” Revolution (paris), no.186 (Sept. 23-29, 1983), pp.42-43
Gale, John. “Spanish Artist Pleads: Don’t Show My Painting,” The Observer (London), Jan. 14, 1962, p.8
Gaudemar, Antoine de. “Tapies dans ses mur,” Liberation (Paris), Sept. 19, 1989, pp.37-38.
Gibson, Michael. “Tapies and the Dignity of Imperfect Things”, International Herald Tribune (New York), july 28-29, 1973.
Huser, France. “Le defi Tapies,” Le Nouvel Observateur (Paris), Nov. 3, 1988.
──. “Les Illuminations d’Antonio Tapies,” Le Nouvel Observateur (Paris) , Feb. 26-March 3, 1988. pp.78-79.
──. “Tapies,le voyageur silencieux,” Le Nouvel Observateur (Paris). Dec. 12, 1991, p.28.
Jeffet, William. “Tapies, Surrealism and Miro,” Apollo (London) 128, no. 319 (Sept. 1988), pp. 191-92.
Jelenski, K. A. “L’art Informel’ and Non Conformity,” Arts Magazine (New York), Dec. 1961.
Jenkins, Paul. “Tapies’ Paradox,” Art/World, Sept. 26-Oct. 17, 1981.
Jodidio, Philip. “Chaussette et metaphysique”, Connaissance des arts, No.483 (1992), p.5.
Jouffroy, Alain. “Les Deux Libertes de Tapies,” XXe Siecle (Paris), no. 40 (June 1973). pp. 30-37.
Kuspit, Donald. “Antoni Tapies,” Artforum (New York) 21, no. 2 (Oct. 1982), p. 73.
──. “Antoni Tapies at Maeght Lelong,” Art in America (New York) 74, no. 9 (Sept. 1986), p. 73.
Lartigue, Pierre. “Encres et vernis. Tapies a la Galerie Maeght,” L’Humanite (Paris), June 8, 1982.
Lascault, Gilbert. “Penser avec Tapies,” Cimaise (Paris), no. 193 (April-May 1988), pp. 5-16.
Le Bot, Marc. “Ecrits de peintres-Antoni Tapies,” La Quinzaine litteraire (Paris), no. 282 (July 1-15, 1978), P. 15.
──. “La Force d’Antoni Tapies,” La Quinzaine litteraire (Paris), no. 505 (March 16-31, 1988), pp. 20-21.
Lebovici, Elisabeth. “Antonio Tapies,” Beaux Arts Magazine (Paris), no.29 (Nov. 1985), pp.38-42.
Levêque, Jean-Jacques. “Tapies et ‘l’art pauvre’,” Le Nouveau Journal (Paris), Oct. 18, 1969.
──. “Pleins gaz,” Les Nouvelles litteraires (Paris), Oct. 23, 1969.
──. “Le mur des lamentations”, Les Nouvelles litteraires (Paris), June 18, 1973, p. 16.
──. “Tapies. La griffe de la colere,” Les Nouvelles litteaires (Paris), June 24, 1974.
Mazars, Pierre. “Antoni Tapies face aux murs,” Le Figaro (Paris), Aug. 30, 1976.
Michel, Jacques. “Le realisme d’Antonio Tapies,” Le Monde (Paris), Nov. 10, 1967, p.11.
──. “La Peinture ‘sociale’ de Tapies,” Le Monde (Paris) Dec. 26, 1968.
Millet, Catherine. “Tapies, L’Art Pauvre en Question”, Les Letters Françaises, Oct. 29, 1969.
──. “Antoni Tapies, recit,” Art Press (Paris), no.49 (June 1981), pp.18-20.
Moulin, Raoul-Jean. “Tapies: Presence de l’homme et du temps,” Les Lettres Françaises (Paris), no.1208 (Nov. 15-21, 1967), p.30.
──. “Tapies, comme un cri de Catalogne,” L’Humanite (Paris), Dec. 26, 1972.
Moure, Gloria. “New Spanish Painting” Flash Art, No.111, March, 1983, p.50.
Penrose, Roland. “The Magic of Tapies,” The Connoisseur (London) 208, no. 836 (Oct. 1981), pp. 150-52.
Peppiat, Michael. “Artist’s Dialogue: Antonio Tapies, An Art of Constant Renewal,” Architectural Digest (Los Angeles), Aug. 1987, pp.40-47.
──. “Antonio Tapies: Fields of Energy,” Art International (Paris), no.3 (summer 1988), pp.37-42.
──. “The Soul Revealed by the Hand: An Interview with Antonio Tapies,” Art International (Paris), no.13 (winter 1990), pp.34-40.
Piquet, philippe. "Avec Antoni Tapies-un entretien de Philippe" O’eil No.432-33. July-August, 1991.
Pluchart, Francois. “Tapies, peintre aux 10,000 suiveurs,” Combat (Paris), June 7, 1966.
Polit, Giancarlo (May-jun 1978), “Domande per Antoni Tapies”, Flash Art, No. 82-83, p.45.
Popovici, C. L. “L’art abstrait en Espagne,” Cimaise (Paris), no. 1 (Oct.-Nov. 1955), pp. 7-9.
Raillard, Georges. “Le Double Mouvement fondamental de Tapies,” La Quinzaine litteraire (Paris), no. 240 (Sept. 16-30, 1976), pp. 17-18.
──. “Comme d’une langue a venir,” Derriere le miroir (Paris), no. 253 (June 1982), pp. 1-5.
──. “Comme au passage d’un grand vent,” Reperes Cahiers d’art contemporain (Paris), no. 44 1988, pp. 3-14.
──. “Fictions de Tapies,” Artstudio (Paris), no. 9 (summer 1988), pp. 74-86.
──. “Car les choses ne sont que les frontieres de 1’homme,’” Reperes Cahiers d’art contemporain (Paris), no. 64 (1990), pp. 23-28.
Raillard, Georges. “Taipies a mots deouverts,” Derriere le miroir (Paris), no. 210 (June 1974), PP. 1-17.
──. “Tapies: ‘Revenir aux choses fondamentales’”, La Quinzaine litteraire (Paris), no.354 (Sept. 1-15, 1981), p.18.
──. “Tapies: Peintures, encres, vernis,” La Quinzaine litteraire (Paris), no. 400 (Sept. 1-15, 1983), pp. 13-14.
Restany, Pierre. “Tapies,” Cimaise (Paris), no. 1 (Oct.-Nov. 1958), pp. 36-39.
──. “Fontana, Coetzee, Tapies,” Cimaise (Paris), no. 5 (June-Aug. 1959), p. 46.
──. “La Jeune Peinture espagnole rentre en scene,” Cimaise (Paris), nos. 45-46 (Sept.-Nov. 1959), PP. 66-79.
Roger, Philippe. “Au pied du mur. Un entretien avec Antonio Tapies,” Le Quotidien de Paris. July 5. 1974, p.11.
Rohrer, Judith. “A Theme for Reflection: The Recent Work of Antoni Tapies,” Arts Magazine (New York), Dec. 1975.
Rose, Barbara. “The Fierce Image,” Vogue (New York), Sept. 1988, pp. 688-91.
Russell, John. “Art: Recent Tapies Work Keeps Old Spirit,” The New York Times, Nov. 15, 1975.
Schmalenbach, Werner. “The Problem of Reality in Mid Century Painting” in Sign, Image, Symbol. New York, 1966.
Stoecker, Karl: “Antoni Tapies,” Arts Review (London), June 12-26, 1965.
Stoulling, Claire. “Tapies: Ceci est bien une pipe ou une peinture d’autoportrait,” Artistudio (Paris), no. 14 (fall 1989), pp. 76-83.
Taillandier, Yvon. “La Nouvelle Vague Chagall: Sortir du realisme Tapies,” XXe Siecle (Paris), no. 2 (March 15, 1959), p. 12.
──. “Tapies ou le mur de la meditation,” Connaissance des arts (Paris), no. 172 (June 1966), p. 21.
Tasset, Jean-Marie. “Tapies: Dieu est aussi dans les casseroles”, Le Figaro (Paris), Dec. 3, 1991
Tesseydre, Bernard. “Sang et rouge a 1evres,” Le Nouvel Observateur (Paris), no. 616 (Aug. 30-Sept. 5, 1976), P. 55.
Tono, Yoshiaki. “Antonio Tapies,” Mizue (Tokyo), no. 677 (Sept. 1961), pp. 14-19.
Vrinat, Robert. “Tapies:Assassins,” Les Cahiers de la peinture, no. 12 (July 1974), PP. 16-17.
Warnod, Jeanine. “Chez Tapies avant sa nouvelle exposition,” Le Figaro (Paris), Jan. 21, 1971.
Wescher, Herta, and Julien Alvard. “Abandon du centre de gravite ,” Cimaise (Paris), no. 4 (March 1956), pp. 27-29.
四、一般著作與期刊
Balcells, Albert. Catalan Nationalism: Past and Present. St. Martin’s Press, 1995
Bataille, Georges. L’Erotisme. Paris: Les Editions de Minuit, 1957
Bergson, H. L’evolution creatrice. paris : P.V.F, 1969, p.p.335-3363
Brassai, “Du mur des cavernes au mur d’usine”, Minotaure, No.6, Dec. 14 1933, pp.3-4
Breton, Andre. What is Surrealism? (David Gascoyne trans.). London: Feber and Fabe, 1936.
──. Surrealism and Painting, New York: Harper and Row, 1972.
C.S. Hall and V.J. Norby. a primer of Jungian Psychology. The New American Library, 1973.
Callicott, J, “Toward a Global Environmental Ethic” , in Mary Evelyn Tucker and John A. Grin(Eds), Worldview and Ecology. Lewisburg: Buck nell Univ. Press, 1933, pp.30-38.
Capra, Fritjof, The Tao of physics. London: Wildwood House, 1975.
Cassirer, Ernst. An essay on man. New Haven and London: Yale university Press, 1944.
Chipp, Herschel B. The Theories of Modern Art. University of California Press, 1968.
Copleston, Frederick. A History of Philosophy. Vol. I, Greece and Rome.
Cohen, Edmund D. C.G. Jung and the Scientific Attitude. New Jersey: Littlefield and Adaw, 1976.
Egan, Harvery. Christian Mysticism: the Future of a Tradition. New York: Pueblo Publishing Company, 1984.
Einstein, A. La relativite. paris : Gauthier-villars. 1956.
Ernst, Max. “Au dela de la Peinture”, Beyond Painting. trans. Dorthie Tanning. New York: Wittenborn, Schultz, 1948.
Fineberg, Jonathan. Art since 1940. London:Laurence King Publishing, 1995.
Focillon, Henrie, Vie des Forms, paris: Quadrige, edition, 1996.
Fondana, David. The Secret Language of Symbols. San Francisco: Chronicle Books, 1994.
Fordham, Frieda. An Introdution to Jung’s Psychology. Penquin Books, 1953.
Francastel, P. Etudes de sociologie de l’art. Paris: Gonthier, 1970.
Haftmann, Werner. The Mind and Work of Paul Klee. Faber and Faber, 1967.
Hannah, Babara. Jung, HIS Life and Work. New York: G.P. Putnam’s Sons, 1976.
Hawking, Stephen “A brief history of relativity” Time, (December 31, 1999) p.33.
Hodges. H. A. Wilhelm Dilthey: An Introduction. 2nd London: Routledge Kegan Paul, 1949.
James, William. The Varieties of Religious Experience. New York: Collier Books, 1961.
Jung, Carl G., Modern Man in serch of a soul, trans. W. S. Dell and Cary F. Baynes. London: Kegan Paul Trubner Co. Ltd.,1933.
Jung, C. G. Metamorphoses de l’âme et ses symboles, Geneve: Librairie de l’Universite, 1967.
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Kleinbauer, W. Eugene. Modern Perspectives and in Western Art History. Holt, N.Y.: Rinehart and Winston, Inc., 1971.
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Lanchner, Carolyn. Paul Klee. N.Y.: Museum of Modern Art, 1987.
Lefebvre, Henri. Le Marxisme. Paris: Presses Universitaires de France, 1972, quinzieme edition.
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Popper, Karl R. Objective Knowledge: an evolutionary approach. New York: Oxford Univ. Press, 1979.
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五、中文參考書籍及期刊
〔清〕王先謙撰，《莊子集解》，台北：木鐸出版社，1988.
〔清〕道濟，《石濤畫語錄》，台北：聯貫出版社，1973.
Hartmann, Hans著，胡卜凱譯《海森堡的世界公式與現代世界觀》，中華雜誌，第三卷，第一期.
Jung, Carl G.著，蘇克譯，《尋求靈魂的現代人》，台北：遠流，1990.
Lukacs, G.著，陳文昌譯，《現實主義論》，台北：雅典出版社，1988.
Stein, Murray著，朱侃如譯，《榮格心靈地圖》，台北：立緒文化，1999.
方東美，《中國人生哲學概要》，台北：先知出版社，1974.
方東美，《生生之德》，台北：黎明文化事業公司，1980，三版.
王協，《老子研究》，台北：商務印書館，1970，台二版.
王哲雄，〈眼鏡蛇的迴響與生率藝術〉，《藝術家》，138期，1986，1月.
王弼注，《老子》，台北：金楓出版有限公司，1987.
牟宗三，《中國哲學的特質》，學生書局，1980，五版.
佛德芬(Frieda Fordham)著，陳大中譯，《榮格心理學》，台北：結構群文化事業，1990.
余英時，《從價值系統看中國文化的現代意義》，台北：時報文化出版公司，1995，二版，頁31.
李約瑟，《中國之科學與文明》，第一、二冊，台北：商務印書館，1973.
李澤厚、劉綱紀主編，《中國美學史》第一卷，上冊，台北：漢京文化事業有限公司，1986.
沈清松，〈黑格爾的形上學〉，《哲學與文化》，第十卷一期，1983.
沈清松，〈科技發展對藝術的基本影響〉《哲學與文化》，第十卷，三期，1983.
沈清松，《解除世界魔咒》，台北：時報文化出版公司，1992，二版.
沈清松，《現代哲學論衡》，台北：黎明文化事業公司，1990.
唐君毅，《唐君毅全集》，卷11，中西哲學思想之比較論文集，台北：學生書局，1984.
唐君毅，《唐君毅全集》，卷18，哲學論集，台北：學生書局，1984.
唐君毅，《唐君毅全集》，卷21，哲學概論(上)，台北：學生書局，1984.
高宣揚，《德國哲學的發展》，台北：遠流，1991.
高宣揚，《存在主義》，台北：遠流出版公司，1993.
張旺山，《狄爾泰》，台北：東大圖書，1986.
張春興，《現代心理學》，台北：東華書局，1991.
張儀尊譯，〈從牛頓物理到原子物理〉，《近代物理學論集》，台北：中華文化出版事業委員會出版，1956.
陳文團，〈辯證唯物論中的合(synthesis)與中國哲學的合〉，《哲學年刊》，第二期，1984.
陳榮捷，〈中國形上學之綜合傾向〉，《中國文化月刊》，31期，1982.
楊冠政，〈邁向全球化的環境倫理〉，《哲學雜誌》，1999,10月,頁5.
鈴木大拙著，劉大悲譯，《禪與生活》，台北：志文出版社，1990.
蔣孔揚，《德國古典美學》，台北：谷風，1987。
鄔昆如，《哲學概論》，台北：五南圖書，1987.
鄧元忠，《西洋近代文化史》，台北：五南圖書，1990.
鄧元忠，《西洋現代文化史》，台北：五南圖書，1995.
鄭金川，《梅洛-龐蒂的美學》，台北：遠流出版公司，1993.