研究生: |
郭雅倢 Kuo, Ya-Chieh |
---|---|
論文名稱: |
存有流離—郭雅倢創作論述 Fragmented Existence—Study of Kuo Ya—Chieh’s Panitings |
指導教授: |
李君毅
Lee, Chun-Yi |
學位類別: |
碩士 Master |
系所名稱: |
美術學系 Department of Fine Arts |
論文出版年: | 2018 |
畢業學年度: | 107 |
語文別: | 中文 |
論文頁數: | 47 |
中文關鍵詞: | 後現代主義 、碎片化 、失落感 、疏離 、當代水墨 、疏淡 |
英文關鍵詞: | Postmodernism, Fragmentation, Loss, indifferent, Contemporary Ink Art, blandness |
DOI URL: | http://doi.org/10.6345/THE.NTNU.DFA.005.2019.A10 |
論文種類: | 學術論文 |
相關次數: | 點閱:139 下載:0 |
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本文以筆者研究所期間之作品為研究對象,透過後現代社會文化理論爬梳,理解當代人無以名狀的不安、失落與疏離,以及這樣的情緒如何反映在作品上,作為創作的反思與聚焦。
後現代社會文化氛圍對人類心靈造成的失落感為本文探討核心,自碎片化發生的原因以及對整個社會形成的氛圍探討起,進而討論人與社會、人與人之間的分化斷裂,以至於當代人的普遍漠然、孤獨、失落以及不滿足。後現代理論的範圍之大、內容之曖昧不明,針對社會氛圍與個人所承受之感,於第二章有詳細的撰寫。
資本制度的普及取代原始共同體,個人得以自團體組織中分化而出,不但富足且自由,人類開始追求自我實現卻也比任何時代都飄搖孤獨—碎片化的歷史使個人的存在莫名而獨立;碎片化的社會組織使個人不再有無堅不摧的認同歸屬,信任與專注也大為降低;碎片化的人際關係使個人的社交需求無法被滿足。人類終於有條件追求自我實現的同時,也形成了異化的個人主義,伴隨著超真實影像的不可追尋以及過度膨脹的消費欲望,使得當代人的深層心靈充斥著孤獨、徒然,個人就如凍結的個體般存在於世,筆者以「存有流離」比喻這樣的狀態。
綜觀西方哲學史,哲學家們不斷論證著生命本質為何,無論存有的內涵如何變動,都指涉了生而為生命的不可再分解或抹去之最基本本質,具有無可動搖之獨立性與絕對性。本文題目使用「存有流離」一詞是借用存有的哲學內涵來標舉當代人精神分裂狀態已危及心靈本質的無可奈何。
在第三章裡,筆者梳理作品的形式與內容之對應,包含疏淡的視覺形式、不完整的人體造型、血肉肌理的經營等,並各自有其對情緒、對社會感受的表達。第四章開始,說明筆者作品藉由於形式上與疏淡美感價值相符合,內容上卻與之背離的衝擊來形塑當代社會下的斷裂、漠然、疏離與孤獨的感性連結。從疏淡的美感形式與其精神價值爬梳起,再說明於作品上如何實踐技術以達成疏淡的視覺效果。最後,筆者於第五章詳細分析個別作品的創作脈絡與實踐,希望透過本文完成個人思緒漩渦的跳脫,進而反思作品,以利於未來更加深化、累積創作。
This thesis takes the works of the author's master period as the research object, through post-modern social and cultural theories, to understand the unease, anxiety and alienation of contemporary people, and how such emotions are reflected in the works as a reflection.
Fragmentation in post-modern theory is the core of this article.Including the reasons for the occurrence of fragmentation and the atmosphere created for the entire society.It then affects the fracture between people and the world,people and the society, people and the people.So that the common people's universal indifference, loneliness and dissatisfaction. The scope of the post-modern theory is large and unknown.Regarding the social atmosphere and the sense of personal acceptance, it is written in detail in Chapter 2.
The popularization of the capital system replaces the Primitive Community. Individuals can be separated from the organization. Not only are they rich and free, but human beings are pursuing self-realization. But they are more loneliness than in any era. The history of fragmentation makes the personal existence inexplicable and independent. The social organization enables individuals to no longer have an invincible identity, trust, and focus are greatly reduced; fragmented interpersonal relationships can make individuals' social needs unsatisfied. At the same time, mankind finally has the conditions to pursue self-fulfillment while also forming an alienated individualism. With the unseeking and over-expansion of consumer desires of super-realistic images, the deep souls of contemporary people are filled with loneliness and vain. Individuals are frozen. Individual existence in the world.
Author compares the state of " Fragmented Existence " with a metaphor of the state of western philosophy. Philosophers continue to argue why the essence of life changes no matter how the intension exists. All of this refers to life and cannot be resolved or erased. The most basic nature has unshakeable independence and absoluteness. The use of the word “Fragmented Existence” in the title of this article is to use Existence philosophical connotations to enumerate the helplessness of contemporary people’s schizophrenic state that threatens the nature of the soul.
The beginning of the third chapter, after the influence of modern anti-aesthetic and visual culture on graphic arts, discusses the logic of image arrangement of contemporary graphic art works, and continues to the creation of the fourth chapter.
In the third chapter, the author combs the correspondence between the form and content of the work, including the bleak visual form, the incomplete body shape, the operation of the flesh texture, etc., and each has its own expression of emotions and social feelings. The beginning of the chapter shows that the author's work is shaped by the fact that it is in conformity with the value of the esthetic beauty, but the impact of the departure from the content is to shape the perceptual link between break, indifference, alienation and loneliness in contemporary society. From the esoteric form of beauty and its spiritual values, we will describe how to practice techniques in the works to achieve a faint visual effect. Finally, in the fifth chapter, the author analyzes the creative context and practice of individual works in detail, hoping to complete the whirlpool of personal thoughts through this article, and then reflect on the works in order to facilitate the deeper and cumulative creation of the future.
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1. 維基百科中國哲學書電子化計劃,〈芥舟學畫編卷四〉,https://ctext.org/wiki.pl?if=gb&chapter=727477,檢索日期2018年5月3日。
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3. 汪正翔,攝影廢文:〈拍攝存在:從《歲月照堂》看張照堂與現代主義攝影〉http://worldwithinphotography.blogspot.com/2013/12/blog-post_9.html ,檢索日期2018年6月13日。。