甚麼是生命的意義？生命的價值又在哪？我們是從何而來的？又要往哪裡去？面對生命的歷程，生活中的點滴，筆者心中充滿了疑問？時常思維，人的一生中無可避免得面對生、老、病、死與悲、歡、離、合。快樂不長久，悲傷也有終止的時候。我們摯愛的親人並不能與我們長相廝守。那麼什麼才是永恆?什麼才是我們可以長久所依持的呢？
在某種因緣際會下接觸到了佛法，金剛經云:「一切有為法，如夢幻泡影，如露亦如電，應作如是觀。」釋迦牟尼佛告訴我們，我們的人生就像是夢一場，如幻像、如水泡、如影子般，如同露水、電流一樣的短暫。我們要經常這樣的觀想，便能夠放下一切，並修持一顆清淨的心。因此生命中的名、利、財富和情感都是虛幻的，看清楚了便明白了，不必去計較、不必那麼認真，一切如過眼雲煙，自然就能隨緣，心才清淨。內心清淨了，便能「不取於相，如如不動」。幾番思考，了解到唯有真正的放下，真正的開悟，才能得到真正永恆的快樂，才是人生追求的目標。
西方卡爾•古斯塔夫•榮格（Carl Gustav Jun 1875－1961）學派的心理分析師認為:石頭是象徵人們最內在的本質及他們最真實的人格。筆者這次以石頭作為我創作的主題，藉此表現個人對於宇宙人生的理解並且以華麗神秘的形式來闡述自性的面貌。
本論文分為五個章節，第一章緒論，本章節包括了筆者研究的動機、目的、內容、範圍、方法、限制等。第二章穿越時空的寶石探索，第一節從佛法的角度來探討靈魂不滅及永恆的價值。第二節從榮格的心理分析與中國文學的角度來研究石頭的物質與精神內涵。第三節從超現實主義的創作方法來分析筆者的創作思維與脈絡。第三章是筆者的創作思維、形式、方法及步驟等等。第四章穿越時空的寶石作品解析。整體作品的概覽、分析與說明。第五章結論，創作的省思及未來的展望。

關鍵字：穿越時空、石頭、彩墨、超現實、寶石

What is the meaning of life? Where is the value of life? Where did we come from? Where are you going? Faced with the course of life and the bit of life, the author's mind is full of questions? Thinking from time to time, people's lives are inevitably faced with life, old age, illness, death and sadness, joy, separation, and integration. Happiness does not last long, and sadness also ends. Our beloved relatives cannot keep up with us. So what is eternal? What is our long-term support?
In certain circumstances, the Dharma came into contact with the Dharma. According to the Diamond Sutra, “Everything is a matter of formal vision but not true, such as a fantasy, and if you expose it to electricity, you should realize the dramatic life summery.” Sakyamuni Buddha told us that our life is like a dream. Such as illusions, blisters, and shadows, they are as short as dew and current. We must constantly think in this way, we can put everything down and practice a pure heart. Therefore, the names, benefits, wealth, and emotions in life are all illusions. When you see clearly, you understand that you don't have to worry about it, you don't have to be so serious, and everything goes through your eyes, and you can naturally follow your heart and your heart is pure. If you have a clear heart, you can "not take it in phase, if it doesn't move." After several rounds of thinking, I learned that only true downsizing and true enlightenment can lead to truly eternal joy, which is the goal of life.
The psychoanalysts of the Carl Gustav Jun 1875-1961 school in the West believe that stone is the most symbolic essence of people and their most authentic personality. This time, the author used the stone as the theme of my creation to express my personal understanding of the universe's life and to elaborate on the appearance of the nature in a gorgeous and mysterious form.
This thesis is divided into five chapters. The first chapter is introduction. This chapter includes the motivation, purpose, content, scope, methods and limitations of the author's research. The second chapter explores gems through time and space. The first section discusses the immortality and eternal values of the soul from the perspective of Dharma. The second section studies the material and spiritual connotation of Stone from the perspective of Jung's psychological analysis and Chinese literature. The third section analyzes the author's creative thinking and context from the surrealistic creation method. The third chapter is the author's creative thinking, form, methods and steps. The fourth chapter analyzes the gemstone works through time and space. An overview, analysis and description of the overall work. The fifth chapter concludes, the thinking of creation and the prospect of the future.

Keywords: through time and space, stone, colorful ink, surreal, gem

申荷永，《心理分析入門【我的理解與體驗】》，台北：心靈工坊，2004。
全佛編輯部：《佛教的重要名詞解說》，台北：紅螞蟻，2004。
維基百科：https://zh.wikipedia.org/wiki/%E4%B8%AD%E6%9C%89（2018/4/20閱覽。）。
維基百科：https://zh.wikipedia.org/wiki/（2018/3/24閱覽。）。
釋迦牟尼佛，《佛說三世因果經》：http://maitiriya888.pixnet.net/blog/post/230283800，（2018/3/31閱覽）。
袁了凡，《了凡四訓》：https://kknews.cc/zh-tw/culture/3p9jlo.html，（2018/3/31閱覽）。
淨空法師講述，《無量壽經》，台北：華藏衛視，（2018/3/30觀看）。
釋迦牟尼佛講，《金剛經》，台南：和裕，2006。
釋迦牟尼佛講，《地藏菩薩本願經》，台南：和裕，2006。
杜寶瑞 陳榮華，《哲學概論》，台北：五南，2008。
卡爾˙榮格（Carl Gustav Jung）著，劉國彬、楊德友譯，《榮格自傳，回憶、夢、省思》，台北：張老師，2014。
謝東山，《藝術概論》，台北：華都，2014。
維基百科：https://zh.wikipedia.org/wiki/，（2018/4/2閱覽）。
曾長生：《超現實主義藝術》，台北，藝術家，2000。
朱剛，《20世紀西方文藝文化批評理論》，台北：揚智，2002。
劉文潭，《美學新鑰》，台北：台灣商務，2004。
里德，《現代繪畫簡史》上海：人民美術，1979。
蘇珊˙朗格著，劉大機，傅志強，周發祥譯，《形式與情感》，台北：商鼎文化，1991。
康丁斯基著，呂澎譯，《論藝術裡的精神》台北：丹青圖書。
汪麗玲，《晚明變形畫風的探討》，《file:///C:/Users/User1/Desktop/2112_pr001_0014_00140030.pdf》，（2018.04.24閱覽）。
林洪錢，《當代彩墨形式結構新蘊》，師大水墨創作組碩士論文。