Philosophy［哲学理念］
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□創作理念
Philosophy
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＞2013城市山水
City Natural Scenery
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・2009自然而然
Nature As Such
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＞2004虛實之間
Between Reality and Delusion
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＞2000游於藝
Searching Joy
and Enjoyment in The Art
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□創作隨筆
Creative Concept
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□學術論文
Academic treatise
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□藝術觀點
Viewpoints
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胡朝景之
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創作理念（Philosophy）
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自然而然
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多年來，筆者以平面繪畫作為創作的主要方式，雖然樂在其中，卻也常常陷入苦思：什麼讓我感動？為什麼要創作？要畫些什麼？如何呈現？……一連串的問題，都是引發筆者持續研究與創作的動力。而在此過程之中，筆者一直深感藝術創作與哲學之間的關係極為密切，因此開始對中西哲學的涉獵產生濃厚興趣。在浩瀚的哲學領域中，筆者獨鍾中國的老莊的「道家哲學」與歐洲十九世紀末至二十世紀初的「存在主義哲學」，進而引發筆者對「人與自然」、「表象與本質」等問題進行探索，「自然而然」系列作品就是因此而產生。
「自然而然」為筆者博士班修業期間創作方向的主題，因「自然而然」一辭同時涵蓋了形而下（自然萬物）與形而上（自然；自己如此的狀態）之意涵，與筆者近年對中西哲學涉獵之範疇相契合，並擬藉由有形可見的繪畫作品探究渺不可知的形而上世界。而在研究過程中，筆者將致力探索幾個在創作上的問題，包含：人、自然、超越界（Transcendence）等三個大方向。此三大方向的探索，乃受康德（I. Kant,1724-1804）的「不可知論」所引導：「康德認為，人所了解的現實，必然是感官所取得的資料，所以眼睛看不到的，就不能進一步去思考。基於這一點，康德排除三個實體的東西：第一，上帝；第二，我的靈魂；第三，世界。這三者都是看不到、也不可知的。」（傅佩榮，民95）因此康德的三大不可知乃包括：自我、世界與上帝。吾人無法確知「自我」為何？只能認知自我呈顯的意志與行為；吾人亦無法確知「世界」究竟為何？因為吾人皆身處世界之中，無法跳脫世界之外，故無法確知世界的全貌；再者，所有「上帝」的圖像都是人為的想像，「上帝」究竟為何？無人可以肯定，因其至高至大已超出人類所能理解的範圍。就此而言，康德所謂「上帝不可知」，如同老子所言「道，可道，非常道。」基本上，康德所言之「上帝」就如同老子所言的「道」，同樣都屬於超越界。然而，「自我、世界、上帝」（即「人、自然、超越界」）三者雖不可知，卻又不能不存在，否則自然萬物的存在與生滅將失去意義。
其次，藝術創作排除技法或視覺效果等表象層次，則與哲學探索相近，換言之，任何體系完整的藝術或哲學探索均離不開「人、自然、超越界」三大範疇。基於此，筆者在本研究中即以「道」或「本質」為中心，藉由創作來探索人、自然與超越界三者的相互關係。
人來自於自然，卻因自負與私慾而逐漸背離自然，此種人與自然之間日益擴大的對立，已造成其他物種的滅絕與生存環境的破壞。人唯有兼顧內在與外在的平衡，順其自然，才能與自然重新建立和諧的關係。自然萬物，莫不依其本性自然生成、自然幻滅，沒有時間的壓力，也不會有空間的困擾，唯獨已遠離了自然的人類會對時間與空間的限制產生憂懼。因此，自然而然，才是自然的本然；回歸自然，方能接近「本質」，與「道」同行。反之，人為對自然的不當介入，將產生失序的自然，使人遠離「本質」、背離「道」。
無論「道」或「本質」，均存在於自然萬物之中（內存性），又同時獨立於自然萬物之上，不會隨萬物的生滅而變化（超越性）。再者，作為自然萬物存在的基礎，「道」或「本質」屬於形而上的「超越界」，無法透過感官加以察知。因此，藉由「表象世界」來探索「本質世界」成為透過創作探索本質的可行與唯一途徑。
如眾所知，在創作過程中，技法易學而「本質」難尋，然而歷代偉大的創作者均以「本質」的探索為先，再從無限可能性的技法之中找尋適合呈現「本質」的技法，諸如：保羅˙塞尚（Paul Cézanne, 1839-1906）、蒙德里安（Piet Mondrian, 1872 -1944）、賈克梅第（Alberto Giacometti, 1901-1966）等皆是，而筆者在本次個展作品中所應用的「秩序化」、「現象學方法」等，均為筆者「透過表象探索本質」的創作實踐。
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胡朝景 2009/8
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Nature As Such
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For years, graphic art has been my primary direction of painting. As much as I enjoy art creation, it has kept me wondering why something moves me, why I create, what I shall paint and how it should be portrayed. These questions have motivated me to continue with both research and painting. In the process, I have come to believe that there is a close relationship between art creation and philosophy. Then, my strong interest in Western and Chinese philosophy has led me to focus more on two particular philosophies, Taoism in Chinese culture, and existentialism emerging in Europe between late 19th-century and early 20th-centry. I began to explore the issues of “humanity and nature” and “phenomenon and essence”, a quest later inspiring the paintings in this themed creation, “Nature as Such.”
This theme is in fact the focus of my doctorate study. To me, the term “nature as such” encompasses ideas in physics (the material world of Mother Nature and its phenomena) and metaphysics (the natural being), corresponding to my study in philosophy in recent years. I have attempted to explore the unknowable metaphysical world through the visible representation in my paintings. I have also discussed in my research some questions concerning art creation within the framework of three dimensions: humanity, nature, and transcendence. This philosophical inquiry was guided by the respected agnostic Kant (Immanuel Kant, 1724 – 1804). “Kant asserts that the reality one knows is what he experiences through the senses. For instance, one cannot contemplate on something without actually seeing it. Therefore, Kant argues that the three ideas, namely God, the soul, and the world, cannot be seen, hence unknowable (Fu, 2006).” According to Kant, the self, the world and God are the three unknowables. We cannot really know what the self is, but can sense the will and behavior of one’s self. Likewise, we cannot know for sure what the world truly is, since we are inside the world, not outside, thus denied the complete knowledge of what the world is. In addition, the looks of God come from our imagination; no one can give a decided answer of what or who is God, since his superiority and majesty are beyond our knowledge. In this respect, Kant’s “unknowable God” bears a similar philosophy as that in Lao Tzu’s famous saying, “The Tao that can be described is not Tao.” Basically, Kant’s proposed idea of God and Lao Tzu’s Taoism both stand within the realm of transcendence. Nevertheless, the three ideas of “the self, the world, and God” (in other words, humanity, nature, and transcendence) are unknowable but necessary, for the existence and non-existence of all other things in the material world would otherwise be rendered meaningless.
Moreover, art creation less techniques or visual effects is similar to philosophical inquiry. Put differently, any comprehensive quest in art or philosophy means to explore the three dimensions of humanity, nature, and transcendence. On that foundation, I have chosen Tao, or the essence, as the core of my research, with an aim to understand the inter-relations among humanity, nature, and transcendence.
Humanity is given rise by nature but has gradually departed from nature due to conceit and desire. The increased conflicts between humanity and nature have resulted in extinction of other species and destruction of living environments. The only way to regain harmony between humanity and nature is by striking a balance of the inner and the outer worlds via the way of being. The existence and non-existence of everything in the material world is the result of its own nature, which is atemporal and aspatial. It is mankind’s departure from nature that leaves them with fears of time and space limitations. Therefore, nature as nature is denotes the essence of being. Returning to nature would bring us closer to the essence, aligned with the way of Tao. On the contrary, through inappropriate intervention, mankind could cause disorders, further alienating themselves from nature and the Tao.
Tao, or essence, lies in everything (called “immanence”), while it is also independent of everything, unchanged despite the changes in everything (“transcendence”). Furthermore, as the foundation of being, Tao, or the essence, belongs to the metaphysical transcendence dimension, unknowable to our senses. In this view, the only viable way to explore the essence in art creation is through a quest in the phenomenal world towards understanding of the noumenal world.
It is generally agreed that in creating artworks, techniques may be easy to acquire but the essence is always hard to capture. Nevertheless, great artists have always aspired first to explore the essence before searching through all possibilities for the right technique to represent it. Examples can be found in masters like Paul Cézanne (1839-1906), Piet Mondrian (1872-1944), and Alberto Giacometti (1901-1966). The methodology of “orderly” representation and phenomenology applied across the corpus of my works in this collection is exactly the practice of such a quest for the essence through phenomena.
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Hu, Chau-Jin 2009/8
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