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微觀菩提─立體設計創作=Microscopic Bodhi : three-dimensional design creation |
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| Author |
許宏再 (著)
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| Date | 2020 |
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| Pages | 120 |
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| Publisher | 國立臺灣藝術大學 |
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| Publisher Url |
https://www.ntua.edu.tw/
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| Location | 新北市, 臺灣 [New Taipei City, 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 | 國立臺灣藝術大學 |
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| Department | 視覺傳達設計學系 |
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| Advisor | 蘇佩萱 |
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| Publication year | 108 |
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| Keyword | 慾望=desire; 符號學=Semiotics; 3d列印=3d printing; 立體設計=Three-dimensional design |
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| Abstract | 人的慾望是無窮無盡的，西方哲學認為是是需求的滿足，無論是身體的、心理的、自私的、無私的。以佛教的概念來說則認為是無明、無智慧的緣由，也就是貪、瞋、痴，種種心理迷惑之源，而其過程總是痛苦的。
自佛陀在菩提樹下悟道後，菩提樹即為佛教的象徵聖樹，幾乎已然與佛陀悟道畫成等號，以符號學概念來看，菩提樹即象徵著智慧與開悟。另維摩詰經中，納須彌於芥子的概念，現今則與顯微微觀的概念相合，在微觀的世界中存在著另一個截然不同的世界。
然以西方符號學及後現代主義角度觀之，慾望其本質沒有好壞之分，一切都只是因為需求，端看與之接觸的人事物，而有不同的延異。舉例說：對美好事物的慾望，對成功的渴求是一種貪；對不公義的不平，對無良的組織不快；對目標的堅持、對真理的堅守，不也是另一種貪、嗔、癡的體現。這應對佛家緣起無自性的概念，諸法無自性，沒有其恆常性、沒有固定本質，無關對錯、沒有善惡、一切都回歸於緣起。而佛教所謂的開悟，就是要是世人悟出此道，要有智慧跳脫這些苦。
本創作所用的分析方法有文獻探討法及創作實踐法。在整理相關文獻後，將各式慾望依照佛教貪、嗔、癡的概念，區分為三大類，並以電子顯微鏡分析微觀的菩提樹結構得到有機圓型孔洞、柱狀結構及六角蜂巢結構等三類立體構成，另運用3D列印方式將其結構用於立體創作之元素，以建構各式慾望樣態並創造一微觀世界。
菩提樹代表著智慧與開悟，相關創作亦可說是以象徵智慧的素材去構築無明慾望的樣態，其目的以了解慾望煩惱的本質及來源，希望觀者能在與觀賞創作時，能體認到所謂的慾望以佛教觀點來說均為幻象。只要心念一轉，看清慾望的本質，無論其構成樣態為何，均能認知到其本質均為菩提。每一件作品都有其空性，不論是顯而易見的或是隱諱不明的。希望作品能與觀者共鳴，傳達出受慾望所苦的人要能破除自身矛盾就能明心見性，在自身上看見佛性。早點獲得智慧離苦得樂，不再被因果循環所苦。
Human desires are endless. Western philosophy believes that it is the satisfaction of demand,whether physical, psychological, selfish, or selfless. In the concept of Buddhism, it is considered to be the cause of ignorance and no wisdom, that is, greed, jealousy, and znfatuation, all kinds of psychological confusion, and the process is always painful.
Since the Buddha's enlightenment under the Bodhi tree, the Bodhi tree is the symbol of Buddhism. It has almost been equated with the Buddha's enlightenment. In the concept of semiotics, the Bodhi tree symbolizes wisdom and enlightenment. In the Vimala, the concept of placing Sumi mountain into the mustard is now in line with the concept of microscopic, and there is another very different world in the microscopic world.
However, from the perspective of Western semiotics and postmodernism, there is no good or bad point in the essence of desire. Everything is just because of the demand, and the people who come into contact with it have different differences. For example: the desire for good things, the desire for success is a kind of greed; the injustice of injustice, the unhappiness of unscrupulous organization;the persistence of the goal, the adherence to the truth, is not another kind of greed, jealousy, and infatuation. This should be the same with the concept of self-sufficiency in Buddhism. There is no self-sufficiency in all kinds of laws. There is no constantity, no fixed essence, no right or wrong, no good and evil, and everything returns to the origin. The so-called enlightenment of Buddhism is that if the world realizes this, it is necessary to have wisdom to break away from these sufferings
The analytical methods used in this creation are literature exploration methods and creative practice methods. After sorting out the relevant literature, the various desires are divided into three categories according to the concept of greed, jealousy, and infatuation in Buddhism.
The linden tree structure was analyzed by electron microscopy to obtain three kinds of three-dimensional structures: organic circular holes, columnar structures and hexagonal honeycomb structures. The 3D printing method was used to apply the structure to the elements of three-dimensional creation to construct various forms of desire and create A microscopic world.
The Bodhi tree represents wisdom and enlightenment. The related creation can also be said to symbolize the wisdom of the material to construct the ignorant desire. The purpose is to understand the essence and source of the desire and trouble, and hope that the viewer can be able to Recognizing that the so-called desire is an illusion from a Buddhist point of view. As long as the mind turns and sees the essence of desire, As long as the mind turns and sees the essence of desire, regardless of its composition, it can be recognized that its essence is Bodhi. Every piece of work has its emptiness, whether it is obvious or hidden. I hope that the works can resonate with the viewers, and convey that those who suffer from desires can break their own contradictions and be able to see the nature and see Buddhahood on their own. Get wisdom early and get |
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| Table of contents | 謝誌 I
摘要 III
ABSTRACT IV
目錄 VI
表目錄 VIII
圖目錄 IX
第一章 緒論 1
第一節 創作研究背景與動機 1
第二節 創作研究目的 2
第三節 創作研究方法 2
一、文獻探討法 2
二、創作實驗法 4
第四節 創作研究範圍與限制 5
第五節 研究架構 6
第二章 文獻探討 7
第一節 西方的慾望哲學 7
第二節 佛教經典 17
一、妙法蓮華經 17
二、維摩詰經 20
第三節 符號學 20
一、索緒爾 22
二、羅蘭‧巴特 23
三、後現代主義 25
第三章 創作實驗 29
第一節 所需設備及軟體 29
一、電子顯微鏡 29
二、濺射鍍膜機 30
三、3D列印機 31
第二節 樣品取樣 34
一、取樣步驟 34
二、樣本成像整理 37
第二節 創作樣品分析 38
一、葉面結構分析 39
二、葉脈結構分析 40
三、樹皮部分分析 40
四、樹幹部分 41
第四章 創作論述 42
第一節 創作理念 42
第二節 創作內容與形式 43
一、貪系列作品 43
二、嗔系列作品 51
三、癡系列作品 57
第三節 創作技巧與方法 65
一、貪系列作品 71
二、嗔系列作品 84
三、癡系列作品 92
第四節 展覽規劃與設計 105
一、展區規劃 105
二、展場動線規劃 106
二、創作展覽邀請卡與海報 111
第五章 結論與建議 116
第一節 創作省思與結論 116
第二節 未來展望與建議 118
參考文獻 119 |
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| Hits | 276 |
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| Created date | 2022.10.07 |
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| Modified date | 2023.01.17 |
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