| 摘要: | 人類以描繪圖案作為象徵，人的本質在於以圖案象徵及創造象徵的圖案，其意義產生了人對人類世界的理解基礎。人類的圖案模仿及創造活動的藝術形式表現，可稱為圖案的象徵系統，產生與語言的符號系統相同但模棱兩可的表現能力。當圖案回歸創造本身，即人成為自己創造的象徵時，一種曖昧的雙重不確定性，激發的想像空間，使視覺語言產生特殊的表述性格與力量，既是象徵的圖像創造者，亦是被創造的象徵者。
如果說「道」是創造者，「肉身」是被創造者，他們即是「肉身是道」的一體兩面，亦即是本論文之研究主題。
筆者試圖用自己的作品，使用形式結構之視覺語言，並參酌現實主義、塞尚的藝術理念，黑格爾的美學，老子的虛實哲學，來詮釋這種超出了純粹的寫作和心理想像的藝術表現狀態。理解這一點或許成為理解人自己的一種方式，也就是認識自己。
Human beings to depict patterns as a symbol, the essence of human beings lies in the pattern symbol and the creation of symbolic patterns, its significance has produced a human understanding of the human world foundation. The imitation of human patterns and the artistic expression of creative activities can be called the symbolic system of patterns, which produces the same but ambiguous expressive ability as the symbolic system of language. When the pattern returns to creation itself, that is, when man becomes the symbol of his own creation, an ambiguous double uncertainty, stimulating the imagination space, so that the visual language produces a special expression of character and strength, is not only the symbol of the image creator, but also the symbol of creation.
If "the Tao" is the creator, "the body" is by the creator, they are the two sides of the " The flesh is the Tao ", which is the subject of this thesis.
The author tries to interpret this artistic expression state beyond pure writing and psychological imagination by using his own works, using the visual language of formal structure, and considering realism, Cezanne's artistic ideas, Hegel's aesthetics, Laozi's false philosophy. Understanding this may be a way of understanding oneself, that is, to know oneself. |
