題名:從臺灣原住民神話意象探討繪畫創作之研究:以排灣群百步蛇神話為例
推薦分享
資源連結
連結到原始資料 (您即將開啟新視窗離開本站)後設資料
- 資料類型：
- 來源資料庫:學位論文
- 著作者：
- 創作者名稱:吳淑梅
- 主題與關鍵字：
- 主要分類:神鬼傳說
- 中文關鍵詞:臺灣
- 中文關鍵詞:民間傳說
- 中文關鍵詞:原住民
- 中文關鍵詞:神話
- 中文關鍵詞:繪畫
- 中文關鍵詞:排灣族
- 中文關鍵詞:百步蛇
- 中文關鍵詞:原始藝術
- 中文關鍵詞:異質文化
- 中文關鍵詞:神話思維
- 中文關鍵詞:田野工作
- 外文關鍵詞:Taiwan
- 外文關鍵詞:primitive art
- 外文關鍵詞:heterogeneous
- 外文關鍵詞:aboriginal
- 外文關鍵詞:aborigine
- 描述：
- 頁碼:112
- 中文摘要:近百年來，台灣前輩美術家以原住民社會文化為題、或擇取原住民藝術圖式而豐富創作者雖多，創作內容也多有啟發與建樹，不過由於當時藝術思潮或社會環境的限制，如以現代觀點思考，則彼等創作內容對異質文化的認知、採借，卻仍嫌不夠充分、頗多均失之於簡略，為開拓藝術創作特色的一大缺憾。 本人有見於此，乃以台灣高、屏兩縣的北部排灣族(Paiwan)、魯凱族(Rukai)傳統領域之共同神話母體和傳統圖像為創作座標；研究範圍除文獻探討外，並援用田野工作方法進行創作素材的醞釀與搜集。研究重點則強調對異質文化、原始思維的探索；進而探視原始圖式象徵之深層寓意。在創作研究方面，從原始神話思維中體悟藝術創作的本質，輔以實際人文踏查之滲化，使在創作方法上，運用象徵啟動意象思維，以簡潔的形式和豐富暗示力替代形象寫實之表達，並著力於具有原始意味的視覺表現與氛圍之營造，傳達出原住民藝術所蘊涵的生命力，促使原住民神話意象重現於造形繪畫，為個人藝術風格探路。 本研究第一章為緒論。第二章在檢視二十世紀現代藝術受原始藝術啟沃之徵兆並以重要藝術家的畫作舉證之。第三章探討原住民神話意象和原始思維，闡明美感價值及神話母題內容與象徵寓意等原始概念，並擇取排灣群百步蛇神話發源地為例，於該自然環境、社會文化和神話傳說進行田野調查，以尋得神話與藝術創作間之視覺經驗聯繫。第四章創作理念則強調植入個人藝術創作的詮釋，構築神話思維之浪漫色彩，達成以試驗性繪畫創作為導向的視覺探索。第五章為繪畫作品說明，最後在自我省視中提出未來的展望與建議。 原住民的社會文化擁有獨特之生活模式，其原始藝術更展現一股直覺、感性的原真之美，在本次的繪畫創作上；體會到用其神話思維方式開發出潛意識區裡無窮的想像空間，並能重新用真摯、關懷的心靈去感受自然萬物所孕育的深刻情感，雖然創作過程中仍難免夾雜著對自己母體文化和西方美學思維的搓揉；卻使作品兼具異質文化內涵和個人理念之藝術創造，進而從諸多文化交融中開拓藝術新視野，亦為原住民藝術的發展盡一份心力。
- 英文摘要:Over the last century, many master artists in Taiwan have chosen subjects or artistic patterns from the societies and cultures of Taiwanese aborigines. Although the content of their works has been rich, and has created a great deal of both inspiration and contributions, their recognition and depth of understanding of the native cultures were still viewed by modern artists as insufficient due to the artistic concepts and constraints of the social environment at the time. The oversimplification of their artworks is a major shortcoming in their role of developing a new category of art. With this view in mind, the author takes the common mythology matrix and traditional symbols from the Northern Paiwan and Rukai Tribe in Kaohsiung and Pingtong counties as the subject matter. The scope of this research involves both literature reviews and fieldwork as the method for developing and collecting information. The focus of this research starts with the exploration of heterogeneous culture and primitive thinking patterns, and continues onto the deeper meanings of primitive images and symbols. In terms of the research of artworks, the author attempted to see the nature of the artworks through the concept of the original mythology. With the penetration of the existing culture, the author will then try to analyze how the artists have used symbolism to actively create images, and how the artists have replaced real images with simple forms and rich implication. The artists have focused on creating a visual representation and atmosphere to fully express the primitive feeling of the cultures, further indicting the life force of the aboriginal arts. This style has shown that the images of aboriginal mythology in paintings have become a style of individual artists. The first chapter of this research includes the introduction. Chapter Two presents a review of how modern art in the 20th century has been influenced by primitive art. The paintings of many important artists will be used as examples for further illustration. Chapter Three explores the mythological images and primitive thought patterns of the aborigines. This chapter will explain many primitive concepts, such as the definition of beauty, the value of beauty, the concept of a mythological matrix, and the various meanings they symbolize. In addition, the author will choose the origin of the Hundred-pacer Viper myth of the Paiwan Tribe as the focus for conducting fieldwork on the natural environment, social culture and myth and legends, with the goal of seeking the visual connection between myths and artistic creation. The fourth chapter focuses on the philosophy of artistic creation, emphasizing the introduction of interpretation for individual artworks. The romantic framework of mythology will be constructed to form a path of visual exploration, with the goal of experimental artistic creation. Chapter Five consists of the explanation of artworks. Finally, the author will review this project and offer future recommendations. The aboriginals in Taiwan possess their own unique lifestyles. Their primitive arts further reveal an original beauty based on instinct and sensibility. In the analysis of the artworks found in this project, it is clear that the artists created a limitless space for the imagination within viewers’ subconscious through the mythological approach. These artworks encourage viewers to experience the greatness of Mother Nature through honest and caring hearts. Although the process of artistic creation inevitably includes the artists’ own culture and influence from Western aesthetics, these elements make their artworks display more heterogeneous contents, as well as their individual artistic philosophies. Such a multicultural approach has opened up new ways to view art, and has brought a great deal of attention to the development of the aboriginal arts.
- 出版者：
- 主要出版者:長榮大學視覺藝術研究所
- 出版地:臺南縣
- 日期：
- 出版日期:2006
- 語言：
- 語文:中文
- 管理權：
- 典藏單位:國家圖書館
授權聯絡窗口
- 圖文授權請逕洽出版者或作者。 資料庫相關問題請洽國家圖書館知識服務組 ref@ncl.edu.tw
