研究如何將「意義形式」與系統性構思兩者融合起來，以產生陶藝創作意念，並詮釋於陶藝作品上，建立有系統的陶藝造型構思法，是本研究最主要的目的。 針對研究目的：就選用記號的外在形式與內涵意義之間的關係為基礎，形式與內涵意義直接相似者，則歸納出直喻示的圖像手法。形式可引發多重內涵意義聯想者，則歸納出隱喻式圖像手法與象徵性手法。 隱喻式的圖像手法再解析為：（1）擬人化的隱喻手法（2）借鏡自然界的隱喻手法（3）借鏡人為物的隱喻手法（4）借鏡歷史文物的隱喻手法（5）抽象幾何的隱喻手法 象徵性手法再發展出：（1）歷史片斷的擷取與重組（2）傳統記號的新詮釋（3）破壞或浸蝕手法（4）雙重語碼的組合性（5）矛盾對比修飾法（6）時空意象的融合（7）文字語碼的應用法等具體的陶藝構思手法。 藉著上述構思方法上的分析與組織，希望能幫助陶藝工作者，將內心的創作意念充分的表現出來。

The purpose of this study is to creative thinging on ceramics form with combining "meaning form" and "system manmers". According to the research, there are three main systems of creative thinking on ceramics form: 1.simile; 2.metaphor; 3.symbol. 1.The manners of simile system are simileing with icons. 2.The manners of metaphor system include : (1) the metaphor with mankind; (2)the metaphor with nature; (3)the metaphor with man-made articles; (4) the metaphor with historial articles; (5) the metaphor with abstract geometry. 3.the manners of symbol system include: (1)to pick and rebuild of historial fragments; (2)to re-interpret of traditional signs; (3)to ruin and erode; (4)to combine of double codes; (5)to contrast in contradition; (6)to blend of time/space images; (7)to apply of character codes.

記號;造形;直喻;隱喻;象徵

Signs;Form;Simile;Metaphor;Symbol