|
|
|
 |
|
|
|
|
|
|
唯識人生 - 葉竹修雕塑創作論述=Life with Consciousness-Only TheoryThe dissertation on Yeh Chu-Hsiu And His Sculpture |
|
|
|
| Author |
葉竹修 (著)=Yeh, Chu-Hsiu (au.)
|
|---|
| Date | 2021 |
|---|
| Pages | 68 |
|---|
| Publisher | 東海大學 |
|---|
| Publisher Url |
https://www.thu.edu.tw/
|
|---|
| Location | 臺中市, 臺灣 [Taichung shih, Taiwan] |
|---|
| Content type | 博碩士論文=Thesis and Dissertation |
|---|
| Language | 中文=Chinese |
|---|
| Degree | master |
|---|
| Institution | 東海大學 |
|---|
| Department | 美術學系 |
|---|
| Advisor | 林文海 |
|---|
| Publication year | 109 |
|---|
| Keyword | 唯識=Consciousness-Only; 協同=Collaboration; 知心=Full aware of oneself |
|---|
| Abstract | 此創作論述方向緣起於孩提時偶然看到一戶喪家法會場景的記憶，日後家庭成員的離開初次面對死亡離別的感受。成長過程深受佛教經典著作「唯識學」的啟發，建立成為創作中的主軸思想。「唯識學」對心裡與外境串聯辯證，是一種讓自己理解意識運作的方法可以讓我們客觀的看待自己心識中種種的困難。宗教的文本、故事、修行的方式無不充滿「象徵」、「超現實」的宗教藝術形式，因此先從「唯識學」的簡述，再進入創作過程中所關注的核心主題。此論述是創作研究的整理，更可讓自己在日後創作研究中，成為可以回顧的基點。
論述分為六段章節，第一章緒論，說明自己受「唯識學」影嚮的研究動機以及創作方向以及名詞解釋。第二章是學理基礎，主要就唯識學與佛教造像的唯識現象的討論如何確立佛像造型符號的介紹。第三章創作理念，發展繪畫的圖相象徵，以作品「重返」探討唯心造的現象。第四章是創作形式，談論作品形式的表現品項、鑄造實務上的操作案例。第五章是作品說明，在說明「唯心造」、「經典文本」兩系列的形式內容。第六章結論，就讀研究所課程重新整理創作方向以及珍惜自己創作的獨特性。
The direction of this creation dissertation originated from the memory of seeing a family funeral ceremony when I was a child, and the first time one of my family members past away, forcing me to learn what death and being apart really was. In my early years I was deeply inspired by the classic Consciousness-Only Theory in Buddhism and established as the core idea of my creative work. Consciousness-Only Theory dialectically connects the mind and the outside world, which is a way to allow ourselves to understand how consciousness works, and see through the difficulties in our minds in an objective way. Contexts, stories, and methods of practice in religion are all full of symbolic and surreal art forms. Therefore, I attempt to start with a brief discussion of Consciousness-Only Theory before entering the core theme of the creative process. Also, this discussion is the collation of my creative research, allowing myself to build a foundation for reviewing in the future creative research.
The dissertation is divided into six chapters. The first chapter is the introduction, explaining how I was influenced by Consciousness-Only Theory in my research motivation, creative direction and noun explanations. The second chapter is the theoretical foundation, mainly discussing how to establish symbols of Buddha statutes with Consciousness-Only Theory and the phenomena of Consciousness-Only Theory in creating images. The third chapter is the main concept of my creative work, the development of pictorial symbolism in the paintings, and the discussion of the phenomenon of "Made by Mind" with the “return” of my art works. The fourth chapter is the creative form, discussing which categories can the concepts adapt to, and the operation cases of practice. The fifth chapter is the description of my art work, explaining the form and content of the two series of "Made by Mind" and "Classic Text". The sixth chapter is the conclusion. Reorganize the creative direction and cherish the uniqueness of my own creative works.
This dissertation allows me to sort out the unorganized parts of sculpture creation for many years, giving me strength of reviewing the past and looking up to the future in my creative works. |
|---|
| Table of contents | 中文摘要 I
ABSTRACT II
目次 III
圖目次 V
第一章 緒論 1
第一節 研究動機與背景 1
第二節 名詞解釋 2
第二章 學理基礎 4
第一節 唯識 4
第二節 佛教造像的唯識現象5
第三節 佛像造形的特徵 9
第四節 宗教題材的表現 13
第三章 創作理念 16
第一節 圖相的象徵 16
第二節 由心所生 20
第四章 創作形式 22
第一節 雕塑的華麗形式 22
第二節 鑄造的技巧 25
第五章 作品說明 28
第一節 唯心造 28
第二節 經典文本 50
第六章 結論 61
參考文獻 63
附錄年表(一) 65
附錄年表(二) 66
附錄年表(三) 67
附錄年表(四) 68 |
|---|
| Hits | 329 |
|---|
| Created date | 2022.09.28 |
|---|
| Modified date | 2023.01.07 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
