本論文研究的主題「迷霧之後」為探討個人於研究所（2021年－2023年）創作之作品，以受到家庭及自身生命經驗的影響，並透過觀察受躁鬱症所苦的患者、照顧者的角度，將他們面對的壓力、無助、憂鬱、迷失等心情描繪出來。並試圖敘述如同躲藏在茫茫霧氣之後自我壓抑及在焦慮情結下產生的感受，並閱讀藝術及心理學相關文獻來分析自身作品的發展脈絡。
第一章「緒論」，闡述本論文之研究動機與目的及研究方法與內容。透過觀察周遭的人事物與自身生命經驗，並以最珍視的原生家庭為創作起點，面對在自我壓抑及焦慮情結下產生的感受。透過「文獻探討」與「創作實踐」兩種方法，來進行本論文之研究。第二章「創作思維的開展」，回顧原生家庭中的成長記憶，並運用人格結構理論中自我防禦機制的「壓抑」與「移置」作用，梳理情緒並整理個人創作運用的相關元素，包含「轉向象徵」、「模糊與唯美」及「寫實與抽象」的內容解析，透過象徵元素、唯美及寫實與抽象之間的手法，梳理自身在油畫中所使用的創作形式。
第三章「創作理念與手法」，內容解析個人創作理念之外，在形式上探討個人生命經驗及繪畫語言的轉變，以及符號的選擇與表現。第四章「作品分析與詮釋」，解析「迷霧」、「歸途」、「舞台」、「Cover Me」系列的理念與形式，以「迷霧之後」為主題做為分析自身創作作品的論題，描述畫作中表達內心意向的轉化過程， 從象徵脈絡的延續到符號的轉變逐一剖析。 第五章「結論」，回顧與檢討既有的研究成果，並提出未來可發展的創作方向。

In my thesis, "Behind the Fog," I probe into the artworks crafted during my master's degree (2021-2023), drawing inspiration from both familial and personal life encounters.

Through observing the perspectives of individuals afflicted with bipolar disorder and their caregivers.Emotions of pressure, helplessness, melancholy, and loss are intricately described, capturing a complex interplay of self-repression and anxiety concealed within an expansive fog.This exploration is complemented by a study of relevant literature in art and psychology, contributing to the analysis of the evolution of my artistic creations.

The initial chapter, titled "Introduction," delineates the research motivation, purpose, methods, and content of this paper. This exploration is complemented by a study of relevant literature in art and psychology, contributing to the analysis of the evolution of my artistic creations.

By keenly observing the individuals and elements in my surroundings, drawing from my own life experiences, and using my cherished family as a creative catalyst. Facing the emotions arising from self-repression and anxiety knots. By employing both 'literature review' and 'creative practice' methods, this thesis conducts its research.

Chapter 2, "Development of Creative Thinking," delves into childhood memories within the family context. It leverages the "suppression" and "displacement" functions of the self-defense mechanism in personality structure theory to categorize emotions and assemble pertinent elements for personal creative expression. This Including the analysis of 'symbolic turn,' 'ambiguity and aesthetics,' and 'realism and abstraction,' this examines the creative forms employed in my oil paintings through the techniques involving symbolic elements, aesthetics, and the interplay of realism and abstraction."

Chapter 3, titled "Creative Concepts and Techniques," not only dissects personal creative concepts but also delves into the evolution of personal life experiences and painting language. This chapter scrutinizes the selection and expression of symbols.

In Chapter 4, "Analysis and Interpretation of Artworks," the analysis extends to the concepts and forms encapsulated in the "Mist," "Home," "Stage," and "Cover Me" series. Anchored in the theme "Behind the Mist," this chapter scrutinizes my creative works, unraveling the transformation process from the continuity of symbolic context to the metamorphosis of symbols.

In Chapter 5, titled "Conclusion," a comprehensive review of the research results is conducted. Furthermore, the chapter proposes potential creative pathways for future development.

謝誌··················································································································································i
摘要····················································································································································ii
Abstract··················································································································································iii
目次·······················································································································································v
圖目次···············································································································································vii
表目次·······················································································································································x
第一章 緒論····································································································································1
第一節 研究動機與目的·······································································································1
第二節 研究方法與內容·······································································································2
第二章 創作思維的開展···········································································································4
第一節 原生家庭的印記·······································································································4
一、 成長記憶·················································································································4
二、 壓抑與移置············································································································5
三、 尋找出口·················································································································7
第二節 繪畫的語言與形式··································································································9
一、 轉向象徵·················································································································9
二、 模糊與唯美··········································································································12
三、 寫實與抽象··········································································································13
第三章 創作理念與手法·········································································································19
第一節 處在迷霧之中·········································································································19
第二節 表露與遮蔽··············································································································21
第三節 符號的選擇與表現·········································································································24
一、 鳥巢、蝴蝶、 標本·························································································25
二、 玻璃·························································································································25
第四章 作品分析與詮釋·········································································································28
第一節 「迷霧」系列············································································································28
第二節 「歸途」系列············································································································34
第三節 「舞台」系列············································································································47
第四節 「Cover Me」系列··································································································52
第五章 結論·································································································································70
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附錄一 2023年「迷霧之後」－崔逸創作個展·························································74

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