Oscillation of The Soul in Multi-Dimention
Lan Huei Chen
“What does art represent?” “What is the meaning of art?” These questions have been dangling in my mind during the process of my studying art for many years. It is without question that we can find different answers for these issues in various academic theories. Besides, with the time changes, there will be more and more new thoughts and innovation along the way. In my opinion, art is a medium for artist to understand the world and him/herself, and through the expression of art, he/she can readout the meaning of life. Therefore, “What is Life” becomes the main subject and spirit when artist is creating their artistic works. The so-called “life” can be discussed in two categories, one is personal life, and the other is social life. Personal life focuses on each individual, while social life consists of many individuals. Life is also presented to us in two ways, internal part and outward part. The former refers to the outward appearance of the society, and the later covers geographic and time spirit in it. In order to present the essence of the humanistic concern in Taiwan, I would like to begin with the discussion on the present situation on this island. Heading toward this direction, I hope to find the real problems through envisaging the inner value and philosophy of Taiwan people, and furthermore, to help prompt their introspection. The so-called “multiple dimensions” means what questions people will encounter in different dimensions. In one-dimension, movement is just allowed on a line, which means you can move forward and backward but not swerving and striding. As to two-dimension, it is a surface, but still you cannot fly or jump on it. For three-dimension, it is just like the world people live now, where you can chase, run, jump, have feelings and express your thoughts. The concept of time is involved in four-dimension, where there is yesterday, tomorrow, the past and the future. At last, it comes to the five-dimension that people is not very familiar with. To gain more knowledge of this field, pundits and scholars make researches and develop many theories like psychology, psychiatric analysis, numerology and reincarnation in order to get a glimpse of the wisdom of the twilight zone. All these efforts are to regenerate people’s attitude about life and their ways of thinking when they encounter the problems of life. Nowadays, Taiwan society is filled with the atmosphere of “unrest” and “uncertainty” . People are dangling in the “multiple dimensions” trying to find the answers of life and how to make the right decision. Hence, my thesis is to, through the presentation of art, try to unseal readers’ subconscious, and let them comprehend the direction and meaning of life in the process of “action” and “observation”. This thesis consists of four sections: The first section is to introduce the background, which includes the cause, motivation and process of my creation. It explains why I choose the theme, the main factors and my concern and care towards people on this island through the forming of art. The second section is to discuss the theoretical background. It covers Taiwanese folk manner, the change of custom, the art value of folk culture, the universal interpretation of Taiwanese folk religion, the orientation of utilitarianism of Taiwanese folk religion, the predestination and life-and-death concept in Chinese philosophy. The third section is about analysis of three productions. Production І: The Magical Box of Fortuneteller – the statement of ideas, the relation between the watchers and the creation of art, and the meaning of the artistic subject. I use a ritualistic circumstance to arouse audiences’ action in order to motivate them to choose and to get apprehensions. Production Ⅱ: The Predestination --- the statement of the ideas, the life scope in the forming of art. I would like to discuss how the concept of “predestination” influences people’ s thoughts in Taiwan. Production Ⅲ: God Is All Around --- the statement of the ideas, the application of folk symbols. This part is to acknowledge the humanistic value of folk symbols and criticize those social phenomenons of the “god-creating” culture and materialism. The forth section is about the style and technique of this creation which includes the application of “contrivance”, the combination of colors and molding, and the use and purpose of mediums.
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