從「靈視、幻象與潛意識流」—探討彩墨超現實畫風的符號、象徵與意涵

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(1)國立臺灣師範大學美術學系博士班美術創作理論組（水墨畫）. 博士論文. 從「靈視、幻象與潛意識流」— 探討彩墨超現實畫風的符號、象徵與意涵 “Spiritual view, fantasy and subconscious flow”—the exploration for the symbol, symbolism and significance for Ink Painting ultra-realistic style.. 指導教授：王友俊教授江明賢教授. 研究生：李憶含撰中華民國一〇一年十二月.

(2) 謝. 誌. 在博士階段研究過程中，由於對主體心性的審視與重探，確信藝術貴在真誠和自然，而對「靈動思惟」的確知及領略，明白其映照內外的心境與環境，可見東方理想的藝術之道，既是「游心於藝」的興會、意致，也是「顯性在道」之旨趣、理喻。經由教授明師的指導、畫界前輩之引領，以及先進同道的共勉，除了加深對藝術意義之理解與詮釋，在研學、治藝的經驗中，也不斷地增廣「美」的見聞和知識；於靜思、內省之過程裡，持續地豐實「好」的精神及內涵。因此，有關西方藝術問題的意識衍異，不會給自己的精神導向任何困擾，主要原因在於，將其視為對應「靈動」的直接線索，藉以解明延展「契機」之研究進路，同時，也以「不忘初心」的思想、理念，依恆常貞定的情感、意緒，顯見精神自然理應「尊重己靈」，藝術靈動實屬「體中本含」。期望以此個人化的創作美學觀，明確東方超現實之風格意涵，釐正當代精神性的圖式象徵。感謝在撰寫論文期間，王友俊教授、江明賢教授的指導與建議；學校師長黃光男教授、劉文潭教授、羅. 芳教授的關照和鼓勵；何懷碩教授、林昌德教授、. 李振明教授、袁金塔教授、莊坤良教授、程代勒教授、孫家勤教授、曾肅良教授、梁秀中教授、楊須美教授、謝里法教授之授業及解惑，乃至藝術學者李奇茂教授、高木森教授、姜一涵教授、張俊傑教授、董夢梅教授、傅. 申教授、歐豪年教授，. 和劉國松教授等等的提示與分析。從中筆者深切感通、受益良多。此外，在論文編排與校正方面，有賴蘇姝和同道的幫忙、協助；在展覽規劃與活動方面，承蒙楊君玲和學人之關注、支持，在此，由衷深表誠摯的謝忱及敬意。基於學術與創作雙向並行，筆者曾因「五嶽看山」之寫生活動，而深得人文化成的激觸感發，這些極其特殊的精神體驗，給予自己莫大的啟發和影響，因此，更為清楚文化背景、源流脈絡，益加明白心理結構、思想理路，從而確立自度合適的研學治藝，引領風格朝向另一階段前進。此時，無論以有心之人或無意之士，但願揮別「世界末日幻成愁，無語問天在紅樓」，自然演成精神融貫的「藝道合一」，這正說明，萬物生動源於一種「機」，紅塵內外總是一個「緣」；只要機緣遇合、興中意會，即可清楚「靈」的主體、甘之若飴；明白「活」之精神、願其似魂，體會「噫！微斯人，吾誰與歸！」──即為還我本真、「依—照夜白」。. i.

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(4) 論文摘要人類賴以生存之地球是文化交流的重要平台，更是靈動藝術演繹之理想介面。一般而言，探討映照自身源出的母體文化，比與世界不同區域文化更能貼近自己。二十一世紀的今日，在文化全球化的時代氛圍裡，有關藝術演進問題之思索與辨明，是一種對自身、世界的覺察和理解，同時，也是對東西哲學體系之反思及詮釋。由於當代思潮的多元化演繹，形成資訊、知識與理論之無止盡擴張，在經由不斷衝撞和激盪的發展過程，顯示有別以往之藝術解讀及風格析探。有鑑於此，基於長期自我審視與精神投注，希望透過個人的意會、感通和靈覺，明確一切盡其在我、符應天地，揭示萬般發明本心、歸於自然，坦然面對內在的真實自己，究竟一探理想之生命藝術。因此，對於自然、人文和心靈的互通性，總是虔誠至心、秉持依道循理，詳加予以研究與探討。在此，依「靈」活「運」用的觀念啟發，就本論文主要的內容意涵，概述相關議題與研究方法：首先，依文化人類學有價值的學術研究，推演出心性之學之言詮與論說，藉此系統學理的彙集和參酌，引發契應身心靈整合之藝術探索，以承接傳統意境美學的理論基礎，延展個人的思想意涵與創作旨趣。其次，對具有時代性的文化、歷史、哲學、美學與藝術等素養，亟欲以積極的態度深入探討；依主體精神、思想、意識、觀念和情感等問題，進行全面的認識與釐正。並且，在關注當代藝術的演變過程中，對政治、經濟、社會、心理及宗教等方面，廣泛地予以整理與歸納。再者，閱覽國內相關文章與報導資料，援引西方邏輯知識和實證理論，乃至參考海外華人的獨特見解，研讀重要刊物之專題評述，以期增廣見聞知識、開闊心靈視野。此外，嘗試透過具體細微的古代文化事象，追溯東西文明交匯、盛衰巨變之緣由，以多角度審視所屬道統的文化形塑，重探亙古之震旦氣象與華夏文明。最終，期盼藉由「主體自覺」的理解與關注，靈活呈現人文況味和實驗精神。緣此，擬定從「靈視、幻象與潛意識流」，探討彩墨超現實畫風的符號、象徵與意涵，尋思依「心的狀態」和「精神作用」，以概括、集中及明晰之論述理路，彰顯新世紀文明的「東方意象」，體現源於「靈動思惟」之美學思想、藝術理論，以及個人現階段的圖式風格。. 關鍵字：靈視幻象、潛意識流、觸機神應、東方前衛、當代逸境. iii.

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(6) Abstract The earth that human lives on is the vital platform for cultural interchange, and an ideal interface for artistic inference. In general, the exploration of “itself” derives from “maternal culture”, is closer to “itself” than that of any other different regional cultures around the world. Nowadays, under cultural globalization, it is expected to regard the speculation and differentiation for cultural-related issues as a kind of comprehension about oneself as well as global culture, and at the same time, the reflection and interpretation about oriental and occidental philosophical systems. Due to diversified deductions for contemporary artistic thoughts, the endless expansion of information, knowledge and theories were formed. And it is evident that owing to the process of unceasingly collisions and surges within global culture, a series of different cultural patterns and artistic types were exhibited. For this reason, I wish to confront “arts” under the premise of chronic self-inspection and spiritual investment, and through observation, inspiration, and speculation. Therefore, the connection amid nature, humanity, and mind were studied as thoroughly as possible. Base on the content of this thesis, relevant subjects and research methods were individually and specifically discussed. Firstly, according to the research of cultural anthropology, related artistic discourses and interpretations were extracted and expounded, and by this systematic research, it is expected to benefit the overall thoughts derived from mind and soul, within artistic exploration. Then it bridged the existing foundation laid by predecessors and the sages alike, and serves as the extension for future spiritual orientation as well as the artistic exploration. Secondly, regarding epochal cultural, historical, philosophical, aesthetical and artistic capacities, they were dealt with in-depth researches actively. Thirdly, comprehensive understandings and rectifications were made against issues such as spirit, thought, consciousness, concept and emotion. Fourthly, while focusing on contemporary artistic evolution, a massive sorting-out and summarization against the political, economical, social, psychological and religious aspects were conducted as well. At the same time, domestic researches and data were reviewed in addition to extensive quotations from western and overseas. v.

(7) Chinese scholars. Moreover, the study of major artistic critiques helps expanding overall knowledge. I’ve retraced the cultural communication between oriental and occidental civilizations as well as the causes of the rise and fall of them, through concrete yet subtle cultural objects.. Finally, I’ve explored the symbols, symbolizations and respective significances of ultra-realistic painting styles, so as to realize the mindset and spiritual interactions. Therefore, to summarize, consolidate and accurately discourse, and eventually to reflect aesthetic thoughts for “Oriental ultra-realistic painting style”, the artistic theories as well as the creation practices at the current stage for any individual.. Keyword：Spiritual vision and illusion, Potential consciousness, Blessed initiation, Oriental avant-garde, Contemporary escapism. vi-.

(8) 目. 次. _______________________________________________________________ 謝誌 ···············································································································ⅰ 中文摘要 ········································································································ⅲ 英文摘要 ········································································································ⅴ 目次 ···············································································································ⅶ 表次 ·····························································································································ⅸ 圖次 ···············································································································ⅹ 作品圖錄 ·····································································································ⅹⅵ 第一章. 緒. 論 ·······························································································1. 第一節. 研究動機與目的 ····················································································1. 第二節. 研究內容與範圍 ····················································································8. 第三節. 研究方法與限制 ··················································································23. 第四節. 名詞釋義與界說 ··················································································31. 第二章「靈視‧幻象」與藝術創作的關係 ····························································35 第一節「靈視‧幻象」的理解與詮釋 ····························································36 第二節. 超現實畫風的前景與沿革 ··································································45. 第三節. 東方超現實畫風的精神意涵 ······························································56. 第三章. 「靈視‧幻象」與超現實畫風的營造 ······················································79. 第一節. 材質媒介的探討與實驗 ······································································81. 第二節. 形式技法的研究與創新 ······································································89. 第三節. 精神內涵的深化與彰明 ····································································101. 第四章. 形式表徵與圖像意涵的研究 ·····································································111. 第一節. 藝術造型中自然意義的認知 ····························································112. 第二節. 作品圖像中人文況味的理解 ····························································133. 第三節. 實驗精神與前衛探索的取向 ····························································148. vii.

(9) 第五章. 美術理論與創作實踐 ················································································157. 第一節. 相關美術理論的研究 ········································································158. 第二節. 當代繪畫風格的觀察 ········································································184. 第三節. 創作研究與實踐心得 ········································································237. 第六章. 風格形式與作品解析 ················································································247. 第一節. 靈視意象－自然探秘系列 ································································250. 第二節. 幻覺形態－人文關懷系列 ································································288. 第三節. 潛意識流－心靈究竟系列 ································································324. 第七章. 結. 論 ········································································································359. 第一節. 現階段研究發現與成果 ····································································361. 第二節. 未來的探討與實踐方向 ····································································371. 第三節. 後記──噫！微斯人，吾誰與歸！ ··············································379. 參考文獻（中文書目） ························································································388 （參考辭典） ························································································392 （期刊論文） ························································································393 （英文書目） ························································································393 （網路資料） ························································································394. viii-.

(10) 表. 次. _______________________________________________________________ 表 1 ：論文書寫架構說明 ···············································································15 表 2 ：藝術研究流程圖解 ···············································································22 表 3 ：創作表現專題研究 ···············································································26 表 4 ：超現實畫風與精神意涵示意圖 ·····························································29 表 5 ：氣化流行與藝術風水觀示意圖 ·····························································94 表 6 ：東方水墨的特殊表現技法說明 ·····························································95 表 7 ：精神境界與玄化秘境示意圖 ·································································97 表 8 ：自我本性的關懷（thought of the self） ···············································100 表 9 ：精神靈動性與立體琉璃同心圓 ···························································105 表 10：主體感通—繁華緣夢生示意圖 ···························································106 表 11：哲學思辨與精神覺照示意圖 ································································113 表 12：自度合適與美學體系示意圖 ·······························································122 表 13：超現實畫風與超象視域示意圖 ···························································125 表 14：歷史進程與意義審度示意圖 ·······························································128 表 15：當代觀解與精神覺悟示意圖 ·······························································147 表 16：獨自的內在靈視示意圖 ······································································164 表 17：東方學人與藝術觀念示意圖 ·······························································167 表 18：藝術真如觀與清淨自性圓明體 ···························································169 表 19：《易經‧繫辭下》：「唯變所適」 ·························································179 表 20：藝術理想與集象合意示意圖 ·······························································187 表 21：超現實畫風與彩墨意涵示意圖 ···························································200 表 22：美在當下—含氣而應生示意圖 ···························································248 表 23：文化演繹與現象觀察示意圖 ·······························································262 表 24：感物應性—萬象唯心經示意圖 ···························································381. ix.

(11) 圖. 次. _______________________________________________________________ 圖 2-3-1 ：（新石器時代）〈陰山岩畫人面紋〉，山東省博物館藏 ························69 圖 2-3-2 ：（新石器時代）〈將軍崖岩畫稷神崇拜圖〉 ··········································69 圖 2-3-3 ：（新石器時代）〈灰陶尊刻日月山形紋〉，山東省博物館藏 ················69 圖 2-3-4 ：（戰國至東漢）〈正身羣舞〉，廣西寧明花山 ········································69 圖 2-3-5 ：（北朝）〈村落〉，內蒙古阿拉善右旗曼德拉山 ····································70 圖 2-3-6 ：（唐）〈動物、花朵、符號〉（局部），清海省德令哈市懷頭他拉 ······70 圖 2-3-7 ：（戰國）〈花紋磚〉，中國歷史博物館藏 ················································70 圖 2-3-8 ：（秦國）〈磚刻神人騎鳳圖〉，空心磚模印，咸陽博物館藏 ················70 圖 2-3-9 ：（秦）〈鳳紋空心磚〉，殘 31cm，咸陽市博物館藏·······························70 圖 2-3-10：（漢）〈戈射收穫畫像磚〉，45×41cm，中國歷史博物館藏 ·················70 圖 2-3-11：（東漢）〈磚畫上林苑鬥獸圖〉，磚質彩繪，73.8×240.7cm，美國波士頓美術館博物館藏 ··············································································71 圖 2-3-12：（魏晉）〈磚畫進食圖〉，磚質墨彩，17×17cm，嘉峪關市文化管理所藏 ··········································································································71 圖 2-3-13：（漢）〈朱雀瓦當〉，徑 18cm，上海博物館藏·······································71 圖 2-3-14：（漢）〈青龍瓦當〉，徑 19.3cm，上海博物館藏····································71 圖 2-3-15：（漢）〈玄武瓦當〉，徑 19cm，上海博物館藏·······································71 圖 2-3-16：（西漢）〈武士之一〉，河南省洛陽市八里臺漢墓山墻兩側 ················71 圖 2-3-17：（北魏）〈飛天〉，麥積山石窟 133 頂部 ················································71 圖 2-3-18：（漢）〈蒼龍星座畫像〉，135×95cm，南陽漢畫館藏 ···························71 圖 2-3-19：（北魏）〈乘龍仙人〉，麥積山石窟 133 頂部 ········································71 圖 2-3-20：（北魏）〈九色鹿本生之一〉，257 窟，96×385cm，敦煌中壁西層 ····72 圖 2-3-21：（北魏）〈九色鹿本生之二〉，257 窟，96×385cm，敦煌中壁西層 ····72 圖 2-3-22：（戰國）〈帛畫人物御龍圖〉，湖南省博物館藏 ····································72 圖 2-3-23：（戰國）〈帛畫龍鳳仕女圖〉，湖南省博物館藏 ····································72 圖 2-3-24：（西漢）〈軑侯妻墓帛畫〉，縱 205cm，上橫 92cm，下橫 47.7 cm，湖南省博物館藏 ······················································································72 圖 2-3-25：（戰國）〈軑侯子墓帛畫〉（局部），湖南省博物館藏 ··························72. x-.

(12) 圖 2-3-26：（戰國中期）〈龍鳳虎紋繡〉（局部），湖北省荊州地區博物館藏 ······72 圖 2-3-27：（戰國晚期）〈玉鏤空龍鳳紋佩〉，6.8×15.4×0.3cm，安徽省博物館藏 ··················································································································73 圖 2-3-28：（西漢）〈玉龍形環〉，最大直徑 7cm，河北市省文物研究所藏·········73 圖 2-3-29：（西漢）〈玉鏤空龍鳳紋套環〉，10.6×0.45cm，廣東省廣州市南越王墓博物館藏 ······························································································73 圖 2-3-30：（西漢）〈銅盤漆繪人物圖：銅質漆繪〉，器縱 13.5cm 口徑 50cm，廣西壯族自治區博物館藏 ····································································73 圖 2-3-31：（西漢）〈漆棺彩繪雲氣異獸圖〉之一，湖南省博物館藏 ··························73 圖 2-3-32：（東漢）〈木案畫朱雀圖〉，木質彩繪，53.5×40cm，甘肅省博物館藏 ··················································································································73 圖 2-3-33：（西漢）〈漆棺彩繪山鹿圖畫〉（局部），湖南省博物館藏 ··················73 圖 2-3-34：（西漢）〈朱雀〉，53×64cm，河南省洛陽市卜千秋墓主室脊頂 ·········74 圖 2-3-35：（戰國）〈楚墓錦瑟漆畫〉，木胎漆畫，40×100cm，河南省博物館藏，北京：故宮博物院館藏 ········································································74 圖 2-3-36：（宋摹本），顧愷之〈洛神賦圖〉（局部），絹本淡設色，27.1×572.8 cm，北京 : 故宮博物院館藏 ································································74 圖 2-3-37：（唐）〈伏羲女媧圖〉，絹本設色，144.3×101.7cm，中國歷史博物館藏。 ······································································································75 圖 2-3-38：（宋）石. 恪，〈二祖調心圖〉，水墨紙本，35.6×64.4cm，東京國立. 博物館藏。 ······························································································75 圖 2-3-39：（宋）劉松年，〈羅漢畫一〉，1207，絹本設色，117×55.8cm，台北：故宮博物院藏。 ······················································································75 圖 2-3-40：（宋）梁. 楷，〈出山釋迦圖〉，絹本設色，119×52cm，私人收藏 ···76. 圖 2-3-41：（宋）梁. 楷，〈潑墨仙人〉，冊頁，水墨絹本，48.7×27.7cm，台北. ：故宮博物院 ····························································································76 圖 2-3-42：（宋）牧. 谿，〈龍圖〉，1296，水墨絹本，京都：大德寺藏 ············76. 圖 2-3-43：（宋）馬. 遠，〈伏羲像〉，絹本設色，249.8×112cm，台北：故宮博. 物院藏 ······································································································76 圖 2-3-44：（宋）賈師古，〈大士像〉，絹本設色，42.2×29.8cm，台北：故宮博物院藏 ······································································································77. xi.