本論文關注到許多台灣藝術家長期用書寫的方式繪畫，他們的作品融合中西繪畫以及自己的獨特創作表現。由於作品涉及範疇寬廣，本論文企圖對此進行跨界的分析並梳理作品中所涵括的脈絡與美學意義。
本論文著重探討繪畫中的書寫行為，探討是什麼驅動藝術家書寫？書寫行為的意義是什麼？在繪畫範疇中，繪畫的書寫與素描的差異為何？筆者發現繪畫與書寫在中國書畫藝術並不會成為一個問題，主因為文字與文化的差異，中國的文字具有圖像性，所以書畫一體，以山水畫來說，即是藝術家以筆走進繪畫空間，因此中國的繪畫堪稱「寫畫」。然而因為中國繪畫背後所涉及哲學或對現象思考之差異，造成作品中書寫的表現、意義與空間的呈現與西方繪畫不同。
本論文為了釐清書寫與素描的差異，參考了素描理論與抽象繪畫，發現有兩種不同的思維趨向，一種是素描在創造形式的形成探索，形式成形之前的一個鮮活的、直接的，形式形成的運動狀態。一種動力、誕生與起源的實現。所以素描著重在未定形、未確定與一種運動的狀態。抽象繪畫試圖離開文藝復興以來對繪畫所形成「再現」框架的桎梏，藝術家用身體動勢之潛意識書寫表達內在純粹與真實的自我。由於台灣藝術家屬於中國文字語言，因此在文化脈絡的探討上，需了解中國文字與書寫的本源、特色與發展，以及了解書寫文化的背景與跨界之現象，包含西方繪畫為何引入書寫，以及書寫是否作為一種感知聯覺與共通的可能。
本論文主要以梅洛龐蒂的知覺現象學作為研究方法，筆者作為一位觀者觀看與感知作品，用身體作為連結中西哲學與繪畫的可能。本論文以「寫‧生」為主題，分為生命與藝術兩個方向來探討。書寫作為藝術家自身存在的表露，相連結的是自身存有與大寫存有兩種面向。這兩種面向也代表了身體所呈現知覺的兩種不同面向，然而它其實是一體兩面---書寫者的「自身身體」（the lived body）與具有生命共同性的「肉」（flesh）。梅洛龐帝認為身體是形成知覺或意識一個重要因素，因此身體有其主體性，不是純粹的客體。另外透過身體的傳達，構成人們對世界的認知與理解（肉）。所以「自身身體」與「肉」是一體兩面。在藝術的範疇中，藝術家透過書寫將無形化為有形，探討書寫所具有形象之生成以及探索未知的特性。最後探討書寫在繪畫的運用上，逐漸成為一種文化符號所運用。
本論文以兩種不同的知覺面向「自身身體」與「肉」作為觀察與分析台灣繪畫作品的方式。藝術家包含了李元佳、李安成、黃宏德、侯俊明、石晉華。李元佳作為台灣五、六○年代最具代表性畫家之一，繪畫特色是大膽的用毛筆畫一點或一個圈，留下大量的空白，可以說他用最純粹與直接的方式展現中國哲學與中國藝術的精神。李安成的「筆墨在呼吸」系列作品直接且鮮明地將書寫作為自我生命的表露。黃宏德發明一種「發射」的方式繪畫，具有一種事件性與偶然性，藉此了解書寫與創造以及生機、生意的關係。侯俊明長期以來用書寫表現身體議題，追求一種差異性的身體，關注於生命或欲望的原始衝動，藉由他的作品來探討文字、繪畫與身體關係。石晉華的作品是將生命化為筆的書寫，用一支被他執行完的鉛筆暗喻生命的終結，強烈地用書寫表現作者的生命與當下存在。
從「肉」探討台灣繪畫所呈現生命共同性與感官的共通性，作品中的書寫呈現的是一種擴延的知覺，帶引觀者感知視覺到身體再到環境。另一個是生活與文化情感，書寫表露藝術家當下的情感與環境氛圍。台灣藝術家的書寫開啟了兩種新的知覺與創作方式，一個是黃宏德運用偶然與直覺的「發射」改變制式的繪畫方式，並提供繪畫新的可能性。另一種是李安成讓墨緩慢地自然流動，擴展我們感官的知覺到與環境融合。
台灣的藝術創作面臨文化脈絡的多次斷裂與外來藝術觀念的多次移植，究竟該如何去面對與開展自身的文化語境？本文期望為台灣繪畫做不同脈絡的整理，並期望為此類型創作建構自身特殊的繪畫理論，具體化此類創作的特殊性與美學意義。

This dissertation will discuss a group of artists who applies writing in their paintings. This discussion will attempt to argue that their works are under influences of traditional Chinese and western paintings to form a set of unique artistic expressions. This dissertation will analyze artworks as well as their historical contexts to further explore the aesthetics across disciplines.
This dissertation will firstly focus on the writing in the painting to explore the motives of using writing and the reason of this special activity. In the realm of painting, what is the difference of writing and drawing? The author will discover that the difference of writing and painting is not a major issue for contemporary artists because traditionally Chinese paintings are “written” instead of “painted.” This leads to the discussion of how artists wish to present a way of living, classical philosophical thoughts and their interpretation of landscapes and the living.
Firstly, in order to clarify the differences of writing and drawing, this dissertation discovers two ways of tendencies in creativity in drawing and abstract painting theories. Artists use drawing to explore possibilities in the creative process. They intend to escape from the tradition of “representation” in abstract paintings. In doing so, they seek for the seemingly unconscious body movements to “write” on paintings to present the inner purity and their true selves. On the contrary to that, artists in Taiwan primarily use traditional Chinese. In the following chapter, this dissertation explores Taiwanese artists’ cultural backgrounds, aiming to understand Chinese writing’s contexts and the influences. This part of discussion will include the analyses of why western painters welcomed writings, and the possibility of writing to connect perception.
This dissertation will widely use Merleau-Ponty’s phenomenology to analyze artworks. The writer will observe, using body senses to connect with classical Chinese and western philosophical thoughts. This dissertation will use Xie Sheng (writing life) as the main theme to discuss artists’ livings and the aesthetics of their artworks. Writing is linked with Merleau-Ponty’s concepts: “the lived body” and “Being.” These two important cornerstones in phenomenology will help us to understand artists’ “bodies” and the universal “flesh.” Other than that, artists use writing’s characteristics of symbolization and representation of the unknown to summon the invisible to the visible. Lastly, the author will discuss the tendency of viewers seeing writing as a special cultural semiotics.
This dissertation will use two phenomenological perspectives to observe and to analyze artworks. Artists include Li, Yuan-Chia (李元佳), Lee, An-Chen (李安成), Huang, Hung-Teh (黃宏德), Hou, Chun-Ming (侯俊明), and Shi, Jin-Hua (石晉華). Li, Yuan-Chia is one of the most prominent artists during the 50s and 60s in Taiwan. He features bold paintbrushes in drawing circles or pointing on paper while leaving a huge space of emptiness. He directly presents the essence of classical Chinese philosophy and aesthetics in his paintings. His series of “breathing brushes and inks” artworks vividly expose his lives through writing; Huang, Hung-Teh invents a way of “projection” as one of his painting techniques. The “projection’s” accidentality can be seen as his approach to discuss writing and creativity; Hou, Chun-Ming uses writing to explore issues of human body. He pays attention to his lives, his desires and original impulses in his artworks, which explores the co-relationships between words, paintings, and bodies; Shi, Jin-Hua uses his life to write and paint. His short pencil symbolizes the end of life, indicating strongly his own personal stories and the very existence of being.
“Flesh” will be the next focus of this dissertation. The author will use this idea to observe and analyze previous artists and their works. We might even sense the writing extend to the environment. Another perspective is to explore further to artists’ livings and cultural affinity. For example, Huang, Hung-Teh takes advantage of the unexpected “projection” to change the pre-set mindsets of creativity. This technique provides new opportunities for painters. Another example will be Lee, An-Chen’s control of inkworks, which flow slowly and yet naturally in his paintings. Watching the traces of inks connects observers’ senses to the painters’ environment.
Art creativity in Taiwan faces cultural disruption and multiple layers of colonialization. It will be a big question for artists to face its own unique cultural contexts. This dissertation hopes to clarify some of important issues of Taiwanese paintings, and to further construct its specific aesthetics and theories in this type of painting.