本文主要以筆者的創作脈絡為研究內容，而當中大部分的創作源自於生活的體驗，無論是臺灣野柳的地質奇景、敦煌石窟壁畫的文化薈萃、或是中國北京、蘇州與上海等地的園林造景，甚至是筆者置身於大都市當中受到櫥窗文化的時尚偏好，種種在臺灣與中國各個地域的遊歷與體悟，對於筆者而言皆是人文風土的精神感召，亦是啟發筆者創作脈絡的重要元素。
　　再者，回歸於筆者本文的研究步驟中，將會透過古今中外的史籍考據，並結合文化研究理論的輔助下，如後現代理論與符號學理論，逐一對應於筆者創作脈絡與各個系列作品的內在意涵，深入剖析可見的物質意識，如園林造景、時尚精品等，同時延伸背後不可見的崇拜意識，如消費／物質文化、佛教義理等，在兩者可見與不可見的匯集之處，即為筆者於本文中所追求的問題意識與創作核心，本文最終將解析筆者於各系列作品的創作風格與母題符號，回歸於筆者針對創作概念視覺化的實踐成果。筆者首先在第一章為此研究論文進行研究內容及其方法的規整，並對研究範圍與專有名詞完成界定；第二章則是開展筆者對於「問石記」中的園林研究與敦煌元素的疊合，進行精神與物質崇拜兩者的整合；第三章接續以文化研究的內在視角剖析消費主義、後現代主義以及符號學相關的探源，協助筆者以更具學術性的角度詮釋創作理念；第四章即落實於筆者創作觀念與風格形塑的分析，延伸至第五章筆者近年來各系列作品的圖像說明。最終，第六章結論的部分收整筆者的理論研究結果與創作歷程。
　　筆者希冀透過本文的研究分析下，宏觀地經由傳統技法的學習與臨摹的創作基礎出發，並結合個人的生命經驗與創作觀點，進而揉合古今精神崇拜與物質崇拜的雙重意義，積極拓展筆者對於崇拜意識的創作脈絡，賦予中國敦煌藝術與當代物質文明更為嶄新的內質再生，揭櫫筆者對於當代性的人文見解與時代意義。
關鍵字： 石頭、敦煌藝術、消費文化、符號學、當代水墨

Abstract

This article mainly focuses on the author's creative context, and most of the creations are derived from life experience, whether it is the geological wonders of Yehliu in Taiwan, the cultural collection of Dunhuang grotto murals, or Beijing, Suzhou and Shanghai in China, etc. The garden landscaping of the land, even the author’s fashion preference for the window culture in the metropolis, various travels and experiences in Taiwan and various regions of China. For the author, They are the spiritual inspiration of the humanistic climate, and also inspire the author’s creation elements of the context.

Furthermore, returning to the author’s research steps in this article, I will use historical texts from ancient and modern China and foreign countries, and with the help of cultural research theories, such as postmodern theory and semiotic theory, to correspond one by one to the author’s creative context and each series of works. The inner meaning, in-depth analysis of the visible material consciousness, such as garden landscaping, fashion boutiques, etc., while extending the invisible worship consciousness behind, such as consumption/material culture, Buddhist meaning, etc., where the visible and invisible converge , which is the problem consciousness and creative core that the author pursues in this article. This article will finally analyze the author's creative style and motif symbols in each series of works, and return to the author's practical results of visualizing creative concepts. The author firstly organizes the research content and methods for this research paper in the first chapter, and defines the research scope and proper nouns; the second chapter is to carry out the author's research on gardens and Dunhuang elements in "The Story of the Stone". The superposition of spiritual and material worship is carried out; the third chapter continues to analyze the sources of consumerism, postmodernism and semiotics from the inner perspective of cultural studies, helping the author to interpret the creation from a more academic perspective The fourth chapter is the analysis of the author's creative concept and style, and extends to the fifth chapter, the image description of the author's various series of works in recent years. Finally, the conclusion part of the sixth chapter summarizes the author's theoretical research results and creative process.

The author hopes that through the research and analysis of this article, starting from the learning of traditional techniques and the creative foundation of imitation, and combining personal life experience and creative viewpoints, the dual meanings of ancient and modern spiritual worship and material worship will be combined. The author will actively expand the author's understanding of the creative context of worship consciousness endows Chinese Dunhuang art and contemporary material civilization with a brand-new inner quality regeneration, revealing the author's humanistic views on contemporaneity and the significance of the times.

Keywords: stone, Dunhuang art, consumer culture, semiotics studies, contemporary ink painting

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