以自身的非典型創作經驗探究石雕未來的可能性

Exploring the Future Possibilities of Stone Carving from My Own Atypical Creative Experience

石材作為歷史上最早的藝術創作與紀錄媒介之一，從古代平面的石刻壁畫到立體的紀念、祭祀雕像等，都有著不可撼動的地位。被這樣的歷史記憶與材質本身沈靜、穩重的安定感深深吸引並為之鍾情，將其作為創作歷程一路走來的主要材質，同時也產生了一種情懷。然而，在未來發展上，不論對石雕還是藝術家都是充滿考驗的，因此透過創作與研究，開啟了對石雕未來可能性的追尋。在不斷求新求變的歷史進程中，傳統的石雕不論在技術與意義上都是不可抹滅的，但隨著科技進步與機械化生產的時代來臨，如何能突破現有的框架，不拘泥於創作的舒適圈中是石雕藝術家的課題。在思考這類問題時，以實踐的個人創作歷程與藝術史的研究互相呼應，試圖通過鑑古知今來自省與回顧，從中找到一條在石雕領域不忘初衷又有無限可能的嶄新道路。
歷史面向上，從米開朗基羅的細膩雕刻到布朗庫西對本質的美學思考、羅丹從台座解放雕塑到杜象的現成物與科蘇斯的觀念藝術等；在地域上，結合來自曲陽、卡拉拉，東西方的石雕之鄉的走訪、考察經歷。將自身的創作歷程與雕塑在不同時空背景下的發展，層層推進。從具象到抽象、雕刻技法到材質思考這些脈絡中，理出一條出路。以自己非典型的創作發展路線，在置石雕於死地後，為自己也為石雕找到一條可能的明天，試圖回應針對石雕的「我們的前方是什麼？」這一提問。本論文便是以自身的創作經驗和考察研究出發，回顧、探究，並試圖在其中找出石雕藝術未來發展上的一些可能性。

As one of the earliest artistic creations and record media in history, stone has an unbreakable status from ancient stone mural to threedimensional memorials and sacrificial statues. Attracted by the historical memory and its own quiet, clam and the stability, stone has been chosen as the main material of my creative process, but also produced a feeling of it. However, it is full of challenge for stone carving and artists in the future, so through the creation and research, I started to search for the future possibilities of stone carving. In the historical process of continuous innovation and change, traditional stone carvings are indelible in both technology and significance, but with the advent of scientific and technological progress and the era of mechanized production, how can we break through the existing framework by not confined to the comfort zone of creation is the test of stone carving artists. In thinking about such problems, my personal creative process of practice and the study of art history echo each other. By searching the past as a model for the present, I try to find a new way in the field of stone carving without forgetting the original intention and infinite possibilities. In terms of history, from Michelangelo’s delicate carvings to Brâncu i’s aesthetic thinking on the essence, from Rodin’s liberation sculpture from the bench to the ready-made artifacts of the Duchamp and the conceptual art of Kosuth. Geographically, combined with the visit and inspection experience from Quyang and Carrara, the hometown of stone carvings from the East and the West. Advance my own creative process and the development of sculpture in different time and space background. From figuration to abstraction, engraving techniques to material thinking in these veins, a way out. With my own atypical creative development route, finding a possible future after the end of stone carving, answering the question“What is ahead of us?”of stone carving. This thesis is based on my own creative experience and research and try to find out the possibilities of stone carving art.