| 摘要: | 論文摘要：「檳榔西施與台灣女性物化現象」系列創作作品，主要是以視覺藝術來探討台灣女性物化自己與女性以服務男的心理概念出發的化現象，藉著筆者在中壢、平鎮的中豐路一線的檳榔西施店，藉觀察、紀錄、問答後，而有不同的詮釋表達出內心的看法和報章文件研閱。筆者畫面所呈現的構成形式是以後立體主義的構圖技法（九種透視構圖法）和中國書、畫法線條、意境融合為一，作為自我創作理念的實踐，並以主題簡化、平面化、分割化、色彩簡歛化的創作方向。
筆者在繪畫創作之餘，師法前人的繪畫風格和典範，並參考立體主義、未來主義為主要繪畫畫面，並以中西名家作品作為自我創作之省思。本論文共分為七章：第一章「緒論」，敘述說明研究創作動機、目的、內容、範圍，以及研究方法與理論。第二章「台灣新女性時代女性思維」，描述台灣女性主義與父權下的台灣女性、以及台灣女性物化自己的現象。第三章「檳榔西施文化的演進」，以文獻報導分析，將檳榔產業、檳榔店的型式、規模、檳榔店的名稱為主軸，進而談到檳榔西施穿著及行為等相關社會現象探討。第四章 淺談「新客觀主義」，針對新客觀主義成立的時代背景、創作理念介紹，並舉例代表性畫家來分析與個人創作「檳榔西施」文化的相關風格，使之成為筆者創作的重要參考依據。第五章「自我創作的理念及形式與內容」，以自我創作理念、形式、內容逐一敘述`，再以「新客觀主義」、「後立體主義」的創作觀，作為筆者創作檳榔西施的投射根源及影響表現要素。第六章「作品賞析」，筆者依據前面幾章的理念，做自我創作的實驗，就作品內容形式及個人創作理念，逐一介紹、分析。第七章 結論 部分，分成研練心得、省思與期望三部份敘述，最後結語談到日後創作的起點和調整做一省思，亦展望此階段的作品能激發起觀賞者的共鳴與互動。
The serial creative works featuring “Exploring how Taiwan’s betel nut lady culture contributes toward the phenomenon of objectifying women” have primarily been aimed to explore, through visual art, the phenomenon of Taiwanese women’s objectifying themselves and the women’s mindset of servicing men by utilizing the author’s firsthand witness of the betel nut lady shops along the Chung Fong Road in Chungli and PingChen, complete with observation, documentation, Q&A through to derive varied interpretations in projecting the inner thoughts and newspaper/magazine review. The conceptual configuration the author manifests in the image has been a blend of the post-cubic imagery conceptualization method (using the nine perspective image construction methods) and the Chinese painting and Chinese calligraphy’s lines and ambience as a manifestation of the authors’ self creative concept, taking to a creative orientation of simplified subject, two dimensional, segregated, and color contraction.
The author, in the spare time besides painting, has emulated earlier painters’ painting styles and classic layouts, referencing also the cubism, futurism as the main painting layout, and also reflected upon renowned artists of the East and West in the self-creation process. The thesis is divided into seven chapters:
Chapter 1：The introduction：
Which described the study’s creative motive, objective, contents, scope, and research methodology and theories.
Chapter 2：Taiwanese women’s thoughts in a new femininity era：
Which describes the Taiwanese women bound by feminism and patriarchic authority, and the phenomenon of Taiwanese women’s objectifying themselves.
Chapter 3：The evolvement of the betel nut lady culture.
Wwhich analyzes through literature coverage revolving around the betel nut industry, configuration and scale of betel nut shops, nomenclature of betel nut shops, and in turn profiles the related social phenomena of the betel nut ladies’ attire and behaviors.
Chapter 4：Profiling the “New Objectivism”.
Which focuses on introducing the background and creative concept of the “new objectivism”, and present representative painters to analyze the pertinent style of the authors’ creation of the betel nut lady culture, integrating it as a vital premise of the author’s creation.
Chapter 5：The self-creation concept.
Configuration and contents, which describes the self-creation concept, configuration and contents, before integrating the elements of the “ new objectivism” and the post cubism as the projected source and performance impact factors in the author’s creating the betel nut lady work.
Chapter 6： Artwork appreciation.
which the author has devised a self-creation experiment by recapping the previous chapters’ concepts to profile and analyze the artwork’s content configuration and individual creative concepts.
Chapter 7：The conclusion.
Which describes in three parts of the study reflection, self-reflection and anticipation, and the final recapitulation covers an overview of the starting point adjustments in the authors later creation, anticipating the that the stage’s works will continue to aspire the viewer with harmony and feedback. |
