本論文從梅洛龐蒂的身體現象學出發，試圖建構一套現代繪畫的生成論述，探討繪畫如何從畫家的知覺世界中生成。研究核心問題為：畫家的知覺如何不同於日常知覺？「我能」的身體如何取代「我思」成為繪畫的出發點？繪畫又如何作為世界的第二次誕生？知覺世界是我們與世界原初接觸的場域。畫家的知覺並非被動的感官接收，而是具有主動性與生成性的原初經驗——畫家在觀看事物時，已然預備著如何去回應它、如何以身體與之相遇。身體作為知覺的根基，從笛卡爾式的「我思」轉向現象學的「我能」。身體不僅是知覺的載體，更是知覺得以發生的條件。透過聯覺現象的具身性生成論，各個感官並非孤立運作，而是在身體的統一行動中彼此交織、相互轉譯。這種身體的知覺主動性，構成了畫家在面對世界時的根本姿態。
論文進一步透過梅洛龐蒂的交織、可逆性與肉身概念，論證身體與世界相互纏繞、彼此觸發的存有論結構。身體觀看事物，同時也被事物所觀看；身體觸摸世界，同時也被世界所觸摸。這種可逆性使可見性得以誕生——可見性不是事物的被動呈現，而是觀看者與被觀看者之間的原初連通。在此基礎上，可見與不可見的張力成為繪畫表現的內在動力：繪畫總是指向某種不可見者——時間的流逝、情感的流動、身體的運作——並以可見的方式讓它顯現。
在理論建構的基礎上，本論文將繪畫界定為一種肉身實踐。畫布是身體與世界交織的場域：畫家不是將預先構成的影像投射於空白表面，而是在畫布上與世界進行一場身體性的對話。筆觸不再是造形的手段，而是身體的思考本身，每一次落筆都是身體對世界的回應，凝聚了觸覺、動覺與視覺的整體知覺。繪畫時間性則展現為雙重維度：創作當下的身體動作時間，與畫面所沉澱的知覺時間。
最後，透過對台灣當代畫家周政緯的案例研究驗證前述理論。案例分析顯示：極度精細的寫實技法並未壓抑畫家的身體性，反而將身體的知覺運作推向極致。這回應了本文的重要命題：繪畫形式的自主性不必然走向抽象主義，具象繪畫同樣可以在身體現象學的視野下獲得全新的理論合法性。
研究結論指出：繪畫不是對世界的複製，亦非純粹的形式構成，而是從知覺世界的內在生成中，使世界得以再度誕生。這種基於身體現象學的繪畫生成論，為理解現代繪畫提供了一條有別於形式主義與觀念藝術的理論路徑。

This dissertation develops a generative theory of modern painting based on Maurice Merleau-Ponty’s phenomenology of the body, investigating how painting emerges from the painter’s perceptual world rather than from established rules of visual representation or conceptual systems. The core research questions are: How does the painter’s perception differ from everyday perception? How does the “I can” of the body replace the “I think” as the point of departure for painting? And in what sense can painting be understood as a “second birth” of the world?
The study begins by clarifying the phenomenological meaning of the “perceptual world,” arguing that the painter’s perception is not a passive reception of sensory data but an active and generative primordial experience. It then establishes the body as the ground of perception, moving from the Cartesian “I think” to the phenomenological “I can,” and elaborates on an embodied theory of synesthesia to account for the integrative nature of perception and the dynamic operation of the body. Drawing on Merleau-Ponty’s key concepts of intertwining (le chiasme), reversibility, and flesh (la chair), the dissertation demonstrates the ontological structure in which body and world are mutually enveloping and engendering, and explores how the tension between the visible and the invisible becomes the intrinsic driving force of pictorial expression.
On this theoretical foundation, painting is redefined as a “practice of the flesh”: the canvas is the site of intertwining between body and world; the brushstroke is the body’s thinking; and pictorial temporality manifests as a dual dimension — the lived time of the painter’s gestural movement and the perceptual time sedimented in the image. A case study of contemporary Taiwanese painter Chou Cheng-Wei, read through a Merleau-Pontian lens, examines the dimension of flesh within his representational surfaces. This case both tests the proposed theory and substantiates the claim that “the autonomy of pictorial form does not necessarily lead to abstraction.”
The study concludes that painting is neither a copy of the world nor a purely formal construction, but rather a process in which the world is born anew through the immanent generation of the perceptual world. This generative theory of painting, grounded in the phenomenology of the body, offers an alternative theoretical path — distinct from both formalism and conceptual art — for understanding modern painting, particularly the contemporary significance of figuration.

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