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    Please use this identifier to cite or link to this item: http://asiair.asia.edu.tw/ir/handle/310904400/112643


    Title: 張徐展《紙人展》系列作品之藝術精神研究——兼談與尼采存在哲學之關聯
    Analyzing the art conception of Zhang Xu Zhan “Paper Sculpture Zhan” also discussing the relation between Nietzsche existentialism and Zhang Xu Zhan
    Authors: 吳書媛
    WU, SHU-YUAN
    Contributors: 視覺傳達設計學系
    Keywords: 張徐展;紙紮;尼采;存在主義
    Zhang Xu Zhan;funeral paper;Nietzsche;existentialism
    Date: 2020
    Issue Date: 2020-04-09 15:07:17 (UTC+8)
    Publisher: 亞洲大學
    Abstract: 動畫對於張徐展而言,是與這個荒唐又沈悶的社會重新連結的方式之一。個體在面對大環境下的不安無處發洩,便只能逃脫到夢境裡,因此創作對於張徐展而言就是建構一個烏托邦,擅長以魔幻的手法帶領觀眾用不同的角度觀看,創作中處處可見怪誕、詭譎的風格,在如夢如幻的錄像裡做自己的主人,然後對世態的謬態進行揶揄。本研究將以張徐展從2013-2017年開始製作的《紙人展》系列錄像為研究目標。由於《紙人展》系列錄像可說是張徐展創作歷程中一個重要的轉折點,將他的早期手繪動畫與近期紙偶動畫區分開來。同時,因為他的紙偶錄像裝置在當代錄像藝術中獨樹一格,因此《紙人展》系列裝置錄像不論是對於張徐展本人抑或是在當代錄像藝術都具有其重要性。

    筆者認為不論以紙紮作為影像的素材亦或作品核心要傳達的內容皆與生死衰亡以及人生的茫然感有關,這些議題與存在主義所追尋的個人價值是可以連結起來的。筆者以文獻作為基礎,再藉由實際觀展與訪談更了解《紙人展》這個系列錄像,經由符號學解構《紙人展》紙偶錄像的影像內容,接著探討其表現形式,最後以尼采的存在美學切入,對作品進行分析。

    本文以色彩、時間、音樂、空間等不同面向,分析《紙人展》系列錄像的表現手法,發現張徐展藉由紙偶身上的色彩,轉化糊紙品的形象,並透過大面積的場景顏色與燈光的搭配,塑造出不同的情境;而動態影像的循環播放或是片段性影像的呈現,也強化了錄像物件的美學以及作品與觀者之間的互動;此外,錄像裡頭的音樂以及作品以不同的敘事手法在空間呈現,也是張徐展錄像創作中,很重要的一環。《紙人展》系列錄像的每件作品,張徐展都為其搭配上各自專屬的曲調,重現出每個空間的家族回憶;並在作品展出時,透過不同的空間投射與媒介之間的轉換,帶給觀者不同的觀看經驗。最後,本文以尼采的藝術審美觀點分析《紙人展》,筆者認為張徐展的紙偶錄像不僅體現了日神阿波羅的造型藝術之美與酒神戴奧尼索斯的肢體生命力,更重要的是,展現了酒神在面對悲劇時死而復生的精神與振作,並帶出光明的面向。
    As a filmmaker and artist, animation is a way that he could connect the nonsensical and deeply silent world to Zhang Xu Zhan. He let off his steam by dreaming in his videos. Therefore, making art creation is like constructing a Utopia to Zhang Xu Zhan. He is not only known for his dark, eccentric, fantasy film but also good at guiding audience in a unusual way. In virtual space, he could be his own master and play a prank on each ridiculous situation like a child. I’ll take Paper Sculpture Zhan as my research object, because series work-Paper Sculpture Zhan is a new milestone in Zhang Xu Zhan’s creation process. He did hand-drawn animation before, and now stop motion is his main type. Meanwhile, his paper puppet video also is special and get a foothold in contemporary video art. Therefore, that’s the reason why this series work is so important to him.

    Regardless of the material or the notion of creativity, both of them are related to the faded things and confusion of the life. These kind of issue is relevant to self-merit witch existentialists pursue. I’ll take document as my basis, and then try to get more information about Paper Sculpture Zhan by visiting the exhibition and interviewing Zhang Xu Zhan. First of all, I’ll analyze the contents via semiotics. After that, I will focus on the expression of the Paper Sculpture Zhan in four way—there are color, time, music, and space respectively. Last but not the least, taking Nietzsche’s existentialism aesthetics to analyze this series work.

    According to this four artistic expression, I find that Zhang Xu Zhan transform the image of funeral paper by chaning the paper puppet’s color, also make different atmosphere by the scene’s color and the light control. The endless and fragment dynamic images which enhance the aesthetics and interaction between the audience and the director. Also, the soundtrack and exhibition mechanism, which is important to Zhang Xu Zhan. He put the music which accords with his memeries into per piece from Paper Sculpture Zhan, and guide the audience in different way by the use of projector and media. Based on Nietzsche’s aesthetics standard, this series work not only demonstrates Apollo’s still structure beauty but also Dionysus’ physical vitality. The most important thing in Paper Sculpture Zhan, which shows Zhang Xu Zhan pull himself together, is Dionysus’ spirit of destruction and rebirth. With strong mind, bringing the light to life.
    Appears in Collections:[視覺傳達設計學系] 博碩士論文

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