關於「主體性（subjectivity）」或「自我（self）」，由西方傳統哲學到早期與晚期現代哲學，以迄當代哲學等已有長期之發展與持續之辯論；中國美學與藝術精神性觀點中亦存在對「主體」與「我」之獨特見地。在藝術創作與藝術相關理論（如藝術教育、藝術心理學、藝術精神性、美學、藝術社會學與文化理論）中，藝術之主體性一直是歷久彌新之探討議題，也發展了一些闡釋以及相關概念與詞彙。最近藝術創作者與創作理論研究者經常以「主體性」、「自我」或「自我認同（self-identity）」等為討論之焦點，同時這些關於主體性之看法往往形成其創作與理論發展之基礎，且據以引導其探究取向。吾人有必要從當前西方藝術心理學與精神性理論，整合中國美學與精神性觀點，檢視藝術創作主體之議題，澄清藝術主體性與自我認同之涵義，以省思學院藝術創作教學之方向。因此，本文擬透過理論分析之方法，探討藝術主體與主體性之心理與精神性層面。具體而言，本文研究目的包括：（一）分析藝術創作主體之心理特質與動機，以及（二）分析藝術主體性與認同形成之心理與精神性。前者涉及Freud與Jung之理論，Machotka之心理傳記（psychobiography），以及Kuspit對現代抽象藝術之闡釋；後者主要包括Lacan之觀點，且整合討論中國美學與精神性觀點、以及當代西方藝術與藝術教育中精神性觀點。最後闡釋前述對學院藝術創作教學之意涵。

There have been long-standing development and continuous debates concerning the issue of subjectivity or self. Such discussion can be found from Western traditional philosophy, to early, modern philosophy as well as contemporary philosophy. In Chinese philosophy and aesthetics, there also exist unique points of view on the issue. In the domains of artistic production and art theories (e.g. art education, art psychology, spirituality in art, aesthetics, art sociology and culture theories), more and more emphasis has been placed on subjectivity in art and generates interpretations and re-conceptualization. Recently, art creators and theorists are concerned with the issue of subjectivity, self, or self-identity, to form the basis of their work and accordingly to orient their approaches. It is necessary for us to examine the issue of subjectivity from the current Western perspectives of art psychology and spirituality integrated with Chinese aesthetics and spiritual conceptions, so as to clarify the meaning of artistic subjectivity and self-identification, and reflect upon the direction of teaching artistic production in College. Therefore, through theoretical analysis, this article attempts to examine the psychological and spiritual dimensions of artistic subject and subjectivity. Specifically, the objectives are: (a) to analyze the psychological traits and motivations of artists, and (b) to analyze the psychological and spiritual aspects of subjectivity and identification. The former involves the theories of Freud and Jung, Machotka's psychobiography, and Kuspit's Freudian interpretation of modern abstract art. The latter is discussed through the integration the perspectives of Lacan, Chinese aesthetics and spiritual conceptions, as well as Western contemporary spiritual conceptions in art and art education. Finally, it explicates the implications of the above-mentioned viewpoints for teaching artistic production in college.