在当代艺术的多样化呈现方式中，行为艺术以其独特的表现形式和深刻的社会意义， 成为艺术领域中的一个重要分支。笔者在面对巫术与行为艺术表现出的心理疗愈提出疑 问，进而引发对巫术仪式与行为艺术之间关联度的思考，并尝试对艺术家与受众的传统 角色进行重新评估。在前人研究的基础上，进一步探讨巫术特质在行为艺术中的呈现、 运用以及其疗愈的现象。 本文深入探讨了巫术的定义、历史与其思维如何与行为艺术相连结，分析了巫术这 一古老仪式在行为艺术中的心理现象。着重考察了原始元素如何在行为艺术中体现和运 用，以及行为艺术如何结合巫术的形式促进个人的情感净化和心灵释放。从人类学、心 理学等方面研究艺术家、观众的特殊体验来理解行为艺术中的巫术特质，并通过案例分 析展示巫术与艺术的有机融合。 文中主要采取了文献阅读法和类比分析定性法，从思维和表征两个角度分析了行为 艺术中的巫术特质，以及这种相似之处带给行为艺术的疗愈现象，再结合案例分析法得 出两者在思维上的相似和对隐喻、仪式场域的运用，是使行为艺术能够像巫术那般以心 理暗示的形式疗愈人心的结论。 行为艺术与巫术之间在形式、精神和原动力上的紧密关联，把作品本身和仪式氛围 对现场的辐射，作为精神与物质、内在与外在世界的连接点。行为艺术家在创作和表演 过程中经历的入迷状态、即兴表现和情感释放，是艺术家对内心的深刻洞察和与集体无 意识的对话。观众在观看和参与的过程中同样以还原最真实的自我状态来回应内心的困 惑、情感需求，亦或者创伤事件。将艺术创作的过程和欣赏中的心理精神体验，与古老 巫术传统中的仪式和思维模式进行了对比和融合，为创作、感受和理解行为艺术提供了 新的视角，同时也为巫术的现代化诠释和去污名化贡献新的见解。

In the diverse ways of contemporary art, performance art has become an important branch of art with its unique forms of expression and profound social significance. The author questions the healing relationship between witchcraft and art, prompting readers to consider the boundary between witchcraft rituals and performance art, and reevaluate the traditional roles of artists and audiences. Based on the previous research, this paper further explores the recessive representation and healing effect of witchcraft in performance art. This paper deeply discusses how the definition, history and thinking of witchcraft are connected with performance art, and analyzes the psychological phenomenon of this ancient ritual in performance art. It focuses on how witchcraft promotes personal emotional purification and spiritual release through the form of performance art, and how this primitive element is recessively reflected in contemporary art, and how performance art works with witchcraft characteristics resonate with the audience and achieve the effect of spiritual healing. Finally, through case analysis, it shows the organic integration of witchcraft and contemporary art. The important conclusion and innovation of the article lies in the discovery of the close relationship between performance art and witchcraft in terms of form, spirit, and driving force. By using primitive thinking and prototype theory, a bridge has been established between the two, pointing out the state of fascination, improvisation, and emotional release experienced by performance artists in their creative and performance processes. Behind this metaphor is the artist's profound insight into their inner self and dialogue with the collective unconscious, responding to inner confusion, emotional needs, or traumatic events by restoring the most authentic self state. The metaphors and atmosphere presented in the works can also guide the audience to experience transcendental sensations on site. The process of artistic creation and the psychological and spiritual experience in appreciation were compared and integrated with the rituals and thinking patterns in ancient witchcraft traditions, revealing their common prototypes and collective unconscious roles, opening up a new field of intersection between performance art research, psychology, and religion.