虛體概念在美學形式發展上，雖不同主流藝術具有強烈的時代任務感，但卻深根在不同時代與角落裡，影響著藝術形式的發展。早期擅長以「虛」概念作為美感創作來源，可首推東方思維的道家藝術與禪宗藝術，而西方藝術也在1950、1960 年代因東洋禪學的引進，促使多位重量級的抽象藝術大師，如John Cage、Yves Klein、Ad Reinhardt、Mark Tobey與Barnett Newman 等人，開始針對虛無議題創作出多樣化的藝術面貌與美感經驗。虛體意象在當時大都用來傳達宇宙空靈的無限感，然而演變至今，它所被賦予的抽象意涵已從大宇宙觀轉化到對人類原我雛形的關懷。本研究將以東方觀者的角度，探討西方當代著名英國藝術家Andy Goldsworthy 之作品中的虛體意象表現，透過造型與自然環境、本我靜觀和潛在心理學等層面的關係，來解析「虛」體所象徵與涵蓋的意義。

The idea of the void in the development of artistic form has certain effects. From Chinese Taoist art and Zen art to the 50s~60s of western abstract art, such as the works of John Cage, Yves Klein, Ad Reinhardt, Mark Tobey and Barnett Newman, the imagery of the form of the void wasinterpreted in many different ways which were often associated with the idea of the infinity of the universe. However, in contemporary art the message it conveys has been transformed to an introspection of the self and leads audiences into the exploration of the essence of life. Thisresearch will use the example of the art of Andy Goldsworthy to discuss the meanings behind the imagery of the void from the views of the law of Nature, the Self and collective subconscious.