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系統識別號 U0026-2506201900454300
論文名稱(中文) 藝術家親身體驗之研究:以運用陶土加上手抄紙創作非傳統陶藝為例
論文名稱(英文) The Study of Lived Experience of the Artist: Utilizing Handmade Paper and Porcelain Slip to Create Unconventional Ceramic Arts
校院名稱 成功大學
系所名稱(中) 創意產業設計研究所
系所名稱(英) Institute of Creative Industries Design
學年度 107
學期 2
出版年 108
研究生(中文) 黃柳
研究生(英文) Krisaya Luenganantakul
學號 PA8037048
學位類別 博士
語文別 英文
論文頁數 354頁
口試委員 召集委員-張清淵
口試委員-王怡惠
口試委員-楊佳翰
口試委員-高如妃
指導教授-陳明惠
中文關鍵字 實務研究  現象學  泰國文化  手抄紙  重複法 
英文關鍵字 Practice-Based Research  Phenomenology  Thai Culture  Handmade Paper  Repetition 
學科別分類
中文摘要 傳統上,藝術實務研究方法不曾著重於現象學,但這正是親身體驗研究的精髓所在。 在本論文中,研究者身兼泰國佛教徒與陶藝家的身份,深受泰國文化與達摩式教導的影響,因而想探究自身的經驗。 本研究旨在省察研究者之親身體驗,並研擬新方法,能夠運用與泰國文化相關的陶土加上手抄紙,創作出非傳統的陶藝作品。 其次,本研究意欲探究參與者對研究者獨特的陶藝作品、展覽及工作坊的回應,以便產生創作陶藝作品的新知識。
利用現象學方法進行陶藝創作的實務研究,主要和記錄及反思方法相關,而在本研究中用以收集資料的方法包括攝影、書寫及錄音,並且發放開放式問卷,以分析參與者的回應。
本研究之重點在於貢獻對於方法、流程及材料之新洞見,能夠運用陶土加上手抄紙,創作出非傳統的陶藝作品,並成為陶藝領域的新範圍。 此外,研究者在創意過程由始至終,揉和泰國文化、手抄紙及陶土的陶藝創作旅程可以作為示範,如何運用日常生活的實踐,培養習慣與技巧,進而創造出不斷變化的創意過程。 研究結果亦顯示創作陶藝作品的新知識,能夠運用陶土加上手抄紙,為展覽及工作坊中的遊客及參與者帶來平靜而活潑的感受。研究限制及對未來研究的建議也會在文中探討。
英文摘要 Regarding conventional approaches of practice-based research in artistic research have not been focused on the phenomenology, which is the essence of the study of lived experience. In the dissertation, as I am a Thai Buddhist and ceramic artist, Thai Culture, and Dhamma teaching influenced me to investigate my own experiences. The purpose of the study is to examine my lived experience and to develop the new method of using handmade paper and porcelain slip in relation to Thai Culture to create unconventional ceramic artworks. Secondly, it aims to explore the participants’ responses concerning my unique ceramic artworks, exhibitions, and workshops in order to create new knowledge of making ceramic artworks.
Employing practice-based research in creating ceramic artworks with phenomenology approach is relevant to documentation and reflection methods which applied in the study as photographing, writing, and recording for collecting the data as well as the open-ended questionnaire is implemented to analyze the participants’ responses.
The significant of the study is to contribute the new insight of methods, processes, and materials which used handmade paper and porcelain slip to create unconventional ceramic artworks becomes the new territory of the ceramic arts field. Moreover, my ceramic creation journey with Thai Culture, handmade paper, and porcelain slip in the creative process from start to finish is an example of having a practice of daily life to develop the habit, and skill created the dynamic of a creative process. Furthermore, the results show that the new knowledge of making ceramic artworks using handmade paper and porcelain slip create peaceful and playful to the visitors and participants at the exhibitions and workshops. Limitation and suggestions for future research are also discussed.
論文目次 摘要.........................................i
ABSTRACT in English............ii
ACKNOWLEDGMENT........................iii
LIST OF TABLES...............x
LIST OF FIGURES..............xii
CHAPTER 1 INTRODUCTION........1
1.1 Background of the Study..........1
1.2 Defining the Author-Artist-Researcher in the Dissertation...8
1.3 The Purpose of the Study...........9
1.4 Research Aim............9
1.5 Methodology....................10
1.6 Significant of the Research............13
1.7 Organization for the Dissertation.......14
1.8 Limitation....................15
1.9 Definition of Term...............15
CHAPTER 2 LITERATURE REVIEW.........17
2.1 Practice-based Research.............17
2.2 Phenomenology..................20
2.2.1 Husserl’s Concept...........21
2.2.2 Heidegger’s Concept.........21
2.2.3 Being Heidegger’s Concept...........25
2.2.4 Time Heidegger’s Concept.........27
2.2.5 The Origin of the Works of Art: Heidegger's Concept...28
2.3. My Background in Thai Culture............29
2.3.1 Buddhism Shapes the Way of Life in Thailand....32
2.3.2 My Reminiscences of Thai Culture.......34
2.3.3 Thai Royal Family Supports Thai Life and Influence Thai Art and Crafts.45
2.3.4 A Traditional Flower Arrangement from Royal Art and Crafts Contribute the Knowledge to Everyday Lifestyle..52
2.4. Repetition in Art and Life..........59
2.4.1 The Repetition in the Symbolic of Life......59
2.4.2 The Repetition and Buddhist Practice.
2.4.3 The Phenomenon in Relation to Repetition and Artworks...................................68
2.4.4..Lived experience of the Artists particularly relation to Abstract Art and Buddhism.......................75
2.5. Material Field.............................80
2.5.1 The Motivation and the Case study of the Artist on their Lives, Materials, and Techniques..........87
2.5.2 Materials: Agricultural Waste and Handmade Paper.108
2.5.3 My Experience Making Handmade by Using Rice Straw.109
2.5.4 Using Handmade Paper in Ceramic Process...122
2.5.5 Porcelain Clay................123
2.5.6 Ceramic Process the Element of Firing.....125
2.5.7 Materials Experiments: 1st Experiment: Various kinds of paper and Porcelain Paperclay Slip..............125
2.5.8 Materiality: Tangible and Intangible.....132
2.6 Creative Ceramic Art Activities....................135
2.6.1 Ceramic Art Exhibitions.............136
2.6.2 Ceramic Art Workshops............136
CHAPTER 3.RESEARCH METEDOLOGY.............139
3.1 Phenomenological approach.........141
3.2 Reflective Practitioner................142
3.3 Documentation.....................144
3.4 Sampling...................146
CHAPTER 4..RESEARCH RESULTS.........148
4.1 Phase 1. Explore the Live Experience of the Artist....149
4.1.1 An Overview of My Experience at TNNUA........150
4.1.2 Phase 1.1 Experiment 1: Exploring Various Handmade Paper Sheets..................................154
4.1.3 Phase 1.2 Experiment 2: Testing Plaster mold and Balloon Mold.......................................166
4.1.4 Phase 1.3 Experiment 3: Testing the Force of Firing and Gravity......................................169
4.1.5 Phase 1.4 Experiment 4 Using paper mulberry paper..................................174
4.1.6 Phase 1.5 Experiment 5 Making Ceramic Artworks for My Solo Exhibition. ‘Materials and Mind’ and Testing Dry on Dry with Glaze and without Glaze........................181
4.2 Phase 2 Exploring the Lived Experience of the Artist...188
4.2.1 An Overview of My experience at SCCP......189
4.2.2 Phase 2.1 Experiment 6 Using Local Clay with Paper Mulberry from Thailand................198
4.2.3 Phase 2.2 Experiment 7 Making Ceramic Artworks for My Solo Exhibition ‘Transform,’ Shiga, Japan......203
4.3 Phase 3 Examine My Lived Experience and the Visitors’ Responses at Two Ceramic Art Exhibition.......215
4.3.1 Exhibition 1. Materials and Minds’ at Chin Chin gallery, Taiwan......................................215
4.3.2 Exhibition 2. Transform’ at Fujiki Gallery, Japan....219
4.3.3 Analysis of the Data Collection from the Visitors’ Responses of the Two Solo Ceramic Art Exhibitions.....225
4.4 Phase 4. Examine My Lived Experience and the Participants’ at the Two Ceramic Art Workshops.........231
4.4.1 Workshop 1 Handmade Paper with Porcelain Slip at Mu Mu Gallery, Taiwan...................232
4.4.2 Workshop 2 Handmade paper with Porcelain Slip at Thai Culture at TNNUA Taiwan.........................238
4.4.3 Analysis of the Data Collection the Participants’ Responses of the Two Ceramic Art Workshops......243
CHAPTER 5 DISCUSSION AND CONCLUSION.........247
5.1 Studio Working Space....
5.2 Discussion Materials Properties and Their limitation....250
5.3 A Result of the Structure of Paper Ring Before and After firing........................................256
5.4 Body and Mind............260
5.5 The Meaning of Using Handmade Paper in Ceramic Process.....264
5.6 The Visitors and Participants at Exhibitions and Workshops.....264
5.7 Metaphor of Existence Regarding Thai Culture............267
CHAPTER 6 IMPLICATION, LIMITATION, and FUTURE RESEARCH....270
6.1 Practice-based research and phenomenology implication........270
6.2 Methodological Implication...........271
6.3 Managerial Implication...........274
6.4 Suggestions for Future Research........275
BIBLIOGRAPHY.............276
APPENDICES.............305
Appendix A: THE CASE STUDY OF TWENTY-ONE CERAMIC ARTISTS.....305
A.1. Table A.1 Textile as Fabric...........................305
A.1.1 Table A.1.1 Textile as Fabric .........307
A.2 Table A.2. Textile as Papers........308
A.2.1 Table A.2.1 Textile as Papers.........309
Appendix B: PLACE TO BUY THE HANDMADE PAPER......310
Appendix C: QUESTIONNAIRE AND RESPONSES ON TWO SOLO CERAMIC EXHIBITION............311
Appendix D: QUESTIONNAIRE AND RESPONSES ON TWO CERAMIC ART WORKSHOPS ..................................323
Appendix: E: PORCELAIN SLIP RECIPE.........329
Appendix F: CHART OF THE FIRING TIME........330
Appendix G: EXHIBITION 1 ‘MATERIALS AND MIND,’ TAIWAN....332
Appendix H: LOCAL CLAYS FROM JAPAN EXHIBITED AT MU MU.....334
Appendix I: TEST CERAMIC COLOR STAINS PORCELAIN SLIP....335
Appendix J: TEST FRIT(1180) WITH PORCELAIN SLIP ....343
Appendix K: EXHIBITION 2 ‘TRANSFORM, JAPAN .......246
Appendix L: ‘MYRIAD’ PHD. EXHIBITION, TAIWAN...348
VITA.............354
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