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| 以意畫境 -- 樹根系列創作研究=Draw With Thinking: Creativity Research on "Roots" | ||
| 作者 | 林春宏 |
|---|---|
| 出版日期 | 2006 |
| 頁次 | 86 |
| 出版者 | 國立臺灣師範大學美術學系在職進修碩士班 |
| 出版者網址 | http://140.122.88.193/ |
| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
| 資料類型 | 博碩士論文=Thesis and Dissertation |
| 使用語言 | 中文=Chinese |
| 學位類別 | 碩士 |
| 校院名稱 | 國立臺灣師範大學 |
| 系所名稱 | 美術學系在職進修專班 |
| 指導教授 | 李振明 |
| 畢業年度 | 96 |
| 關鍵詞 | 意境=an artistic conception; 環保=environment protection; 樹根=roots; 現代水墨=modern Chinese painting |
| 摘要 | 本論文就傳統中國水墨畫之表現形式與意境美學思想的探討，做一歸納與分析。「意境」是水墨畫中的主要思想內涵，理論觀點包含了數千年來的哲學家與藝術創作者所探討與整理的成果，其基礎則建立在儒、釋、道三家的思想上，影響及於建築、繪畫、文學、舞蹈等藝術創作的表現。清末民初西方文明大舉湧入，面對西方藝術形式的衝擊，許多繪畫創作者對因襲模仿的中國繪畫舉著改革的旗幟，採取吸收西方藝術的形式觀點融入水墨畫中。進入現代以後，部分藝術家對水墨畫中的核心「筆墨」提出強烈的質疑與探討，在撻伐的聲浪中，隨著時間的流轉與西化腳步的推進，繪畫理論、工具、媒材、技法、題材與展出形式的開發，使水墨畫的創作表現形式逐漸多元化。近年來的生態環境在經濟掛帥的論調中，不斷的過度消耗自然資源，伴隨而至的是因地球暖化所引起的氣候異常、物種消失，種種不當的人為開發，更將生態環境推向黑暗的深淵。研究者面對此種現象的憂慮感，以此探討「樹根」於環境保護中的定位，並藉著「樹根」作為創作題材呈現水墨畫中的意境美學，以「汲古潤今」、「溫故知新」的態度來檢視個人的認知與體會，探討水墨創作中多元性的表現試探。以下就此論文的基本架構作一簡述： 第一章 ：緒論－本章包括了研究動機與目的、研究內容與範圍、研究方法。 第二章 ：探討中國水墨畫中寫生－造境－意象的轉化過程，傳統意境的美學內涵以及詩境與畫境。 第三章 ：著重於分析水墨畫的主要核心問題－－筆墨、揉合中西的過渡、近百年來西方文明的滲入形成當代水墨藝術思潮的多元表現與特質，以及現代兩岸水墨畫家的代表如劉國松、吳冠中所展現的水墨畫之意境表現。 第四章 ：論述『以意畫境－樹根系列』創作理念的分析與實踐作品的呈現，並探討個人創作的思想內涵與形式表現。透過當代生活環境與生態環保意識的感受，以「樹根」為題材，展現水墨畫中的「意境」思維，以象徵與隱喻的手法，擴展個人的創作語彙。 第五章 ：結論部分，藉著研究與創作實踐過程，重新釐清個人對水墨創作的思考方向，並期望在經濟發展與生態環境之間取得平衡點，為生命開創未來。 This research is to analyze and generalize the artistic expressive forms and an artist conception of aesthetics. The artist conception is the main inner spirit of Chinese painting. The theories include the conclusions which were explored and organized by philosophers and artists during the past thousands of years which base on the thinking of Confucian, Buddhism and Taoism, and influence the creation of building, painting, literature and dancing. In the late 19th to early 20th centuries, Chinese painters are increasingly exposed to the art of western cultures. To face the impact upon the western art forms, many painters decided to innovate. They quit the conventional and traditional Chinese copying painting method and looked for western artistic formalism and blend it into traditional Chinese technique. Into modern time, some artists raised queries and inquired about the core of Chinese painting--- pen and ink. With the time passing and the influence under the westernization, Chinese painting theories, tools, media, and themes have greatly diversified. These years, because of hylicism, human beings have consumed the natural resources excessively. The consequences are that the global warming has caused the weather exceptional unstable and many species begin to face the danger of extinction. More than that, over and improper exploitation continues to damage our ecological environment. Worrying about this aggravating situation, I chose “Roots” to be my theme ---which is used as the orientation of environment protestors as well as the medium to express the artistic conception of esthetics. Besides with the attitude to “assimilate ancient merits and then embellish them with modern skills” and “gain new insights through restudying old materials”, I strive to survey personal cognition and experience and explore the diversiform of Chinese creative painting. The following are to introduce the basic structure of this thesis. Chapter One, introduction, describes the research motives, purposes, ranges and methods. Chapter Two explores the transformation of Chinese painting form from sketch to formation of concept and to produce the image, the inner spirit of traditional conception of aesthetics and the wnception of the poetry and drawing. Chapter Three focus on analyzing the major problem of Chinese painting, the relation and harmonizing of pen and ink and the blending process of Chinese and Western art. For hundreds of years, the western culture gradually formulates the various forms and characters of modern Chinese painting and the artist conception expressed by the representative painters from both Mainland China and Taiwan, like Guan-zhong Wu and Kong-sung Liu. Chapter Four analyzes the creative ideas of “Roots, Painting through Thinking”, exhibits the works and explores personal creative thinking, inner spirit and external forms. Through the caring of the surroundings and ecological environments, I use the theme “Roots” to express the prospect of Chinese painting and try to expand my personal creative lexicon through the technique of symbolism and metaphor. Chapter Five, |
| 目次 | 第一章 緒論………………………………………………………………1 第一節 研究動機與目的…………………………………………………1 第二節 研究內容與範圍…………………………………………………3 第三節 研究方法與限制…………………………………………………4 第二章 文獻探討…………………………………………………………5 第一節 寫生-造境-意象的轉換過程……………………………………5 第二節 意境的意義與美學內涵…………………………………………10 第三節 詩境與畫境………………………………………………………13 第三章 水墨創作表現的遞嬗……………………………………………6 第一節 水墨畫中筆墨的意涵與爭論……………………………………16 第二節 文學性與視覺性的調和…………………………………………22 第三節 現代水墨畫中「以意畫境」的創作表現………………………26 一、以劉國松為例…………………………………………………………26 二、以吳冠中為例…………………………………………………………29 第四節 當代水墨創作表現的類型……………………………………34 第四章 樹根系列創作思維與表現…………………………………………40 第一節 個人樹根系列創作的意向………………………………………40 第二節 樹根的型態功能與環保意識…………………………………43 第三節 創作風格與形式………………………………………………47 第四節 作品分析…………………………………………………………51 第五章 結論………………………………………………………………82 參考書目……………………………………………………………………83 |
| 點閱次數 | 260 |
| 建檔日期 | 2008.10.24 |
| 更新日期 | 2015.06.15 |
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