由抽象繪畫中的解構思維談自我創作

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题名:	由抽象繪畫中的解構思維談自我創作 Discussion on Self Creation from the Deconstructive Thinking in Abstract Art
作者:	劉秀春
贡献者:	藝術研究所美術組碩士在職專班
关键词:	抽象繪畫抽象思維解構思維莊和禪思想同時性分延拼貼組構 abstract art abstract thinking deconstructive thinking thoughts of Chuang and Zen synchronization difference collage structure
日期:	2006
上传时间:	2014-08-13 13:32:39 (UTC+8)
摘要:	西方「抽象繪畫」（Abstract Art）在20世紀的20～60年代蔚為潮流，一反文藝復興以來的具像寫實傳統，它由西方造形藝術的本質——創造具體有形的形式中抽離，從挖掘抽象意識的深層底韻，探索創作純粹抽象繪畫的可能性；過程中受多方影響，但走出了一條將自我表達出來的大道。60年代以後的解構思維席捲西方，藝術觀多樣性地解體，「抽象繪畫」在表現形式上明顯地出現東西雜揉、多種風格混合、拼接、組裝的不同面貌。在中國美術史上，沒有「抽象」這名詞，也不曾標榜過「解構主義」（Deconstructionism）式的藝術觀；但在傳統書畫中要求藝術家以形體畫出內在的神韻和心裡的意念，以致臻於「氣韻生動」的境地，在創構過程中必須具有高度抽象思維的能力。在思想根源上，莊子思想和禪宗哲理強調回歸內在的根源，對心象的自由運用以及藝術型態的自由運用能力，乃至於最後連神佛都須加以超越、解構等，洽是與「解構思維」拉近距離的幫手。本論文即將探索著20世紀初中西藝術交流與碰觸後，抽象繪畫創作的另一種可能性。對於解構的旨趣，在解與結之間，解去什麼和結合什麼是其中重要的關鍵；依筆者探索，以為解去僵化的理論形式，試圖將西方的藝術特性與中國繪畫的抽象性相結合，是筆者此回創作與研究所欲闡述的觀點。筆者的陳述重點歸納為：一、中西抽象繪畫創作精神與異同；並以代表作家、作品作重點說明。二、以解構思維為主要探索角度，並從當代中西共構的精神中，延伸出個人的創作理念。三、創作的主題內容由關照自然物像中的一體兩面和多元並陳的現實情境而發；並對拼接、組構的表現形式與使用的媒材技法加以說明。四、以創作作品來呈現筆者的探索。五、對此創作與研究過程的檢視、前瞻與自我期許。 Abstract art is a trend in 1920s to 1960s. Opposite from the realism since the Renaissance, it excavates the deep essence of the abstract ideology from the nature of the Western plastic arts - being, and explores the possibility of pure abstract art. Although subjected to influences from many areas, it has created Darstellung. Deconstructive thinking has swept across the West after 1960s, and the perspective of art has been deconstructed diversely. Abstract art has shown a mixture of styles and expressions. In the history of Chinese art, there is no reference to “abstract” or “deconstructionism”. However, traditional paintings insist on “freehand brush work with forms” to achieve the state of “liveliness”. It requires high abstract thinking capability. In terms of thinking, “Thoughts of Chuang and Zen” emphasize on “returning to the inner self”, free exercise of mind and unrestrained use of art forms, and surpassing Buddha (deconstructionism). It is similar to deconstructionism in the West. This paper explores the new possibility of abstract art based on the exchange and interaction of Oriental and Western arts. Between deconstruction and incorporation, what are deconstructed and what are incorporated are the keys. This paper attempts to deconstruct the restraining theoretic forms, and incorporates the features of the Western art and the abstract features of Chinese art. This paper will cover: 1) explain the similarities and differences between the creation and essence of Chinese and Western art, and provides references on artists and artworks; 2) use the deconstruction thinking to extend the research theories of the author based on the incorporation of the Chinese and Western art; 3) theme and expression of the creation: two sides of one object and diverse collection of realistic situation; and use collage and media for explanation; 4) use the creation to present the exploration of the researcher; 5) review the creation and research process and provide afterthoughts.
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