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反省與覺照 -- 人體與自然結合之創作研究=Introspection and Awareness-A Research on the Creation of The Integration of Human Body and Nature |
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| Author |
陳韋辰 (著)=Chen, Wei-chen (au.)
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| Date | 2007 |
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| Pages | 60 |
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| Publisher | 國立臺灣師範大學美術學系 |
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| Publisher Url |
http://140.122.88.193/
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 國立臺灣師範大學 |
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| Department | 美術學系 |
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| Advisor | 蘇憲法 |
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| Publication year | 97 |
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| Note | 2008年再版 |
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| Keyword | 存在主義=existentialism; 覺照=awareness; 緣起=dependent origination; 無常=impermanent; 執著=attachment; 空性=emptiness; 涅盤=nirvana/nibbana; 四聖諦=the four noble truths |
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| Abstract | 宇宙間的事事物物，包括一切客觀的物質現象和主觀的思想現象—從微塵到世界，從活質到人，從感受到認識，都是時時刻刻在運動流行、生滅變化著。我們目前所接觸到的一切現實，不過是一堆變遷著的現象的總和；同時，在複雜的事物變遷過程中，每一事物的生滅代謝，都和它周圍事物互相聯繫、互相影響，而發生著息息相關的因果連續關係。這種宇宙萬有、生滅變化、互相聯繫的規律，佛法叫做「因緣（各種條件）所生法」。這一系列發生、發展、消滅的過程，在佛法上總稱做「諸行無常」。宇宙間一切事物既然都是生滅不停的假相，可惜人們習慣於主觀的妄想執著，不能從客觀的真實上來看問題，因此便不明白這宇宙人生的真實相貌。畫者試圖藉由具象寫實之平面繪畫創作，表達「賦宗教及哲學意涵之平面繪畫」，而佛法中的「緣起」以及「無常」之觀念則是整個創作思考及鋪排的主軸，目的在於嘗試以視覺藝術作為傳輸媒介，將宗教性觀點傳達給觀畫者，或未曾接觸宗教思想的群體，激發其對於生命有另一層次的理解與省思，甚或減除過多的「執著」。本文為創作形式的論文，故撰寫的重點在於筆者論述本人之平面繪畫創作，而非偏重學理的研究或探討，亦非探討宗教及哲學相關的理論。
The universe of all things, including all the material in an objective and subjective thinking phenomenon - from the fine dust of the world, from the quality of living, from the feel to awareness, all they have birth and death ,and changing. We are all exposed to the reality, it is just a heap of changes in the sum of the phenomenon at the same time, things change in the complicated process of the birth and death of each metabolic things, and its surrounding things interactive system, affected, and place in the closely related to the causal relationship between continuous. This universe of subjects, birth and death change, the interaction of the law, Buddhism called " Dependent origination." This occurred, development, the eradication process, in Buddhism, collectively known as a "trip impermanence of all." Since the universe, all things are birth and death kept the false impression. Unfortunately, people accustomed to subjective persistent paranoia, not from an objective perspective on the real problem and therefore do not understand this universe, the true appearance of life. Artists like trying to be realistic by the plane drawing creation, the expression "given religious significance of the plane painting", and Buddhism in the "Origin" and "impermanence" is the whole concept of creative thinking and the way of the spindle, aimed at trying to Vision art as a transmission medium, will be conveyed to the religious views of art, or not thinking of the religious groups access to inspire their lives for another level of understanding and reflection, or even elimination excessive " Attachment." This paper forms for the creation of paper, so the focus is the author wrote on the plane I painting creation, and not biased towards academic research or study, it is not related to explore religious and philosophical theory.
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| Table of contents | 第一章 緒論...................................1
第一節 創作研究之動機與目的..................1
一、對於人物創作之著迷.....................1
二、對於「佛教教法」之了解與體悟............1
第二節 創作研究之方法.......................2
一、理論部份之進程........................2
二、實踐部份之進程........................3
第三節 創作研究之範圍.......................4
一、創作內容之範圍.........................4
二、創作形式之範圍.........................4
第二章 創作思想與理論基礎.......................6
第一節 創作理念.............................6
第二節 人本主義心理學到超個人心理學............9
第三節 從佛學與存在主義談「生命存在」..........18
第四節 佛陀所說的「無我」.....................23
第五節 巴洛克藝術－戲劇張力十足的幻象繪畫.......25
第三章 創作主題之元素...........................29
第一節 千姿百態之人體造形.....................29
第二節 浩瀚無疆之大地與自然元素................30
第四章 創作內容、形式、技法與媒材.................34
第一節 人與自然元素交融之創作內容..............34
一、人身構成與自然環境之共通性 ..............34
二、身體的狀態與舉動.........................36
第二節 以超現實空間為主的具象創作形式………………….38
一、具象寫實形式 .............................38
二、超現實空間構成 ...........................38
三、東方水墨構圖形式 .........................39
第三節 創作技法與媒材…………………………………………39
一、創作技法.................................39
二、創作媒材.................................41
第五章 作品解析...................................43
第六章 結論.......................................52
參考文獻..........................................56
作品圖錄..........................................58 |
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| Hits | 415 |
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| Created date | 2008.09.04 |
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| Modified date | 2015.08.26 |
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