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| 題名: | 論視覺思維--「形、體、空間」
Visual Thinking about the Elements of "Figures, Embodiments, and Dimensions" in Visual Art |
| 作者: | 吳大光 |
| 貢獻者: | 美術系 |
| 關鍵詞: | 視覺思維
形
體
空間 |
| 日期: | 1997-06 |
| 上傳時間: | 2017-12-01 16:24:41 (UTC+8) |
| 摘要: | (一) (1)目前國內的美術思想，較少獨立性或純粹性的學術系統，為求其研究風] 氣與創作新觀念及方向之發展，爰為本文。(2) 「視覺思維」中視覺與思維同時性相互交集 作用，期可突破佑覺與理解之間的障礙 o(3) 「形、體、空間」之相關理論研究，對視覺藝 術思想極其重要，而對觀賞者或創作者而言，亦屬不可或缺。(二 ) 旨在強調「視覺思維」 的觀念，對視覺藝術有關創造或其價值認知與判斷，始終存在著決定性的影響；並從新的角 度來詮譯：(1) 「形」與「體」的真實性問題；(2) 「形、體、空問」之各自存在狀態或性 質及其門日之存在關係；(3) 「可見與不可見」及「實與虛」之相對性同時存在概念一即「 形、體、空間」乃一完整整體 " 且相互存在等廣、等深、等積、等量、等形的全等關係。 (三 (1) 直觀分析法－以「視覺思維」的概念，直接審視「形、體、空間」的存在樣式及其 相互關係。(2) 理論分析法－「不可見」及「虛」的抽象概念，需以相關邏輯辯證之法則分 析之。 (3) 統合歸納法－統合各單元並導出新的審美觀念與藝術思想。(四 )(1) 序論－包 括主題之動機、目的及方法等研究。(2) 視覺思維中的「形、體、空間」。(3) 「可見與不 可見」之概念與界限。(4) 「實」與「虛」的概念與表現。(五 ) 結論。 (五 )(1) 「空間 、形、體」乃一完整不可分的 " 整體 " 存在關係。 (2) 空間、形、體」之 " 完整整體 " 的存在關係，可以導出一個視覺藝術中新的美學思想。
一、(1) The thoughts of fine art demonstrated in nation so far seem be lacked of independent or simplified theoretic system. That's why I attempt to write this and hope that I could offer some ideas for encouraging research atmosphere in Tai wan or finding a new direction for developping innovations.(2)In the term of 「 visual Thinking 」 actually implied twosided dialogue he interaction between visual consciousness and reacted thinking. In the context, with the ideas of "dialogue" I try to break those barriers existed between consciousness and comprehensions.(3) the theoretic research concerned about the topics of 「 figures, embodiments, and dimensions 」 is significant for visual-art thoughts development. It's also neces-sary for viewers or artists to be aware of this.(二)I would emphasize the aspect about the concept of 「Visual Thinking」, for which al-ways comprehends the alternative influences on artists' value-awareness and adap-tions which are the keys to make their concerned innovations in Visual Art. I would take new points of view to interpret this topic:(1) the similarities of 「 figure 」 and 「 embodiment 」 elements in reality;(2) the seperated representing status or qualities of 「 figure 」, 「 embodiment 」,and 「 dimension 」 elements and the ties of inter-relationship; (3) the relative, being-simultaneous concepts of 「 visible with invisible 」「 embodiment with emptiness 」 hich menas that the elements of 」「 figures, embodiments, and dimensions 」 are existed in "a whole completion" with the relationship of egual dimension, equal depths, and equal quantities. 三 、(1)Intutive Analysis ith the concept of 「 Visual Thinking 」 to speculate the being modes of 「 figur, embodiment, and dimension 」 eements and explore their in ter-relationship.(2) theoretic Analysis he abstract concepts about 「 Invisible 」 and 「 emptiness 」 need tjo be analyzed by dialecics.(3) Inductive Inference try to unify each units and infer new aesthetic concepts or art thoughts. 四、 (1)Preface ncluding the reseach discussing about motives, goals, approaches in this topic.(2)The elements of 「 figures, embodiments, and dimensions 」 in Visual Thinking. (3) the concept of 「 visible with invisible 」 and its bounds. (4) The concept of 「 embodiment 」 with 「 Emptiment 」 and its representations. (5) Conclusion. 五、(1) the relationship among the elements of 「 figures, embodiments, and dimensions 」 is insperable in a complete entity;(2) Within this "complete-entity" relation among the elements of 「 figures, embodiments, and dimensions 」, we are able to infer and observe a profile of new aes-thetic thoughts in Visual |
| 關聯: | 華岡藝術學報 4 民86.06 頁1-30 |
| 顯示於類別: | [美術學系所] 期刊論文
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