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| 層層慈相話生機--彩墨人物畫創作研究=Benevolent Faces of Buddhism Figures Tell the Vitality of Life--A study of Color and Ink Figure Paintings | ||
| 作者 | 梁秀香 (著)=Liang, Hsiu-hsiang (au.) |
|---|---|
| 出版日期 | 2003 |
| 頁次 | 82 |
| 出版者 | 台灣師範大學=National Taiwan Normal University |
| 出版者網址 | http://www.ntnu.edu.tw |
| 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 | 美術學系在職專班 |
| 指導教授 | 羅芳 |
| 畢業年度 | 91 |
| 關鍵詞 | 繪畫; 唐卡=Tangka; 佛教人物=Buddhist; 佛教藝術=Buddhist Art |
| 摘要 | 本文在探討中國傳統人物畫之向度. 結構. 精神和美學觀的演進及蛻變，尤是佛教人物的沿革，自漢晉. 隋唐. 宋元. 明清-21世紀初的現代人物畫之差異性，做縝密觀察與歸納分析，並進行創作研究，目的在闡述中國人物畫之精神及獨特性. 中國古代藝術論述對繪畫的品評，只要列為較高層次的創作，都是從人與物. 主觀與客觀的交融關係的程度多寡，來論述藝術創作的起始和極致. 並論証最理想的創作，是出於藝術家是否能以「心與物化」的創狀態作，故，身為彩墨畫創作者，應認清時代的趨勢和精神，從人文及自然中去發現前人沒發現的新規律. 新思維，創造新的藝術境界和表現形式. 本文以禪宗「默照丹霞無念住」的精神為創作主旨，在《層層慈相話生機》系列創作中，試把心靈世界的佛教人物與客觀世界人們生活面向，作深度的探討和遇合，為個人對宗教與人生的觀察及藝術創作的起點，並落實在藝術作品的建構上，而個人的創作理念與學理基礎研究，可分兩個體系，一是個人習畫以來對藝術與人文養成之回顧，尤深受近代兩岸繪畫流派影響，從現代水墨畫派，雲南重彩畫，台灣彩墨畫派，西藏唐卡藝術等，為主的繪畫理念及架構，為個人繪畫創作的主依據，另一方面是探討來自東. 西方哲學思想異同，對物我思維方式與象徵意義的解讀. 本創作內容的選定與研究範圍，可分為二： 1.以歷史. 文學. 哲學及自然界為題材， 2.以人物造型為主之「心靈之美」的探討， 近年來個人對人物造形及文化活動頗有涉略和研究，並常做為個人創作的泉源，尤其對佛寺佛像的莊嚴慈悲，有種「發於心，形於畫」的渴望，這份虔誠與崇敬，更衍生出個人的繪畫語言，且以中國傳統水墨畫的線條和皴法造形，運用西方現代繪畫醒目的斑瀾色彩，給畫面注入勃勃生機及絢麗鮮活，希望能給人一種賞心悅目和動人心弦之感，更祈盼能呈現彩墨畫的另種面向及哲學思維. [摘要] This thesis discusses the evolution and transformation of Chinese traditional figure paintings, particularly Buddhism figure paintings, in design，structure，essence and aesthetics. A comparative study is conducted by close observation and in-depth analysis to assess the differences between figure paintings from the Han Dynasty to the twenty-first century. The thesis also aims to illustrate the characteristics and uniqueness of Chinese figure portraits through the author’s own paintings and the interpretations of them. When it comes to the evaluation of ancient Chinese paintings, especially more sophisticated ones, critics would argue that the value and beauty of paintings are in proportion to the integration of humans and nature，and of subjectivity and objectivity. They verify that a perfect painting depends on the artist’s creativity in “combining heart with representation.” To be a successful color and ink painter，one has to be constantly up-dated，and thus one will probably be able to bring about a new artistic horizon by following new creeds and thoughts newly discovered in humans and nature. With the philosophy of Zen Buddhism “observing people of the world with freedom and peacefulness” in mind，the author creates a series of paintings entitled “Benevolent faces of Buddhism figures tell the vitality of life”，trying to interpret the inter-relationships between the inner world of Buddhism figures and outer world of ordinary people. The author also instills into the works her understanding of religion and human life as well as her ideas on art. The author’s philosophy on artistic creations and theoretical research are developed in two principal ways. One is a review of her progress in painting，influenced by various contemporary cross-strait schools of artists, including the Modern Ink Painting Group，Yunlan Thick-color Paintings, Taiwan Color and Ink Painting Branch, and Tibetan T’ang-card Arts. The other is an exploration of the similarities and differences between Eastern and Western thoughts on art and their symbolic meanings implied in it. The major subjects chosen for artistic works and academic research can be divided into two categories：one is the contents of history，literature，philosophy and nature; the other is “beauty of mind”，which is illustrated in figure formations. In recent years, the author has been devoted to the study of figure formations and engaged in cultural activities, which inspire many of her artistic creations. Moreover，her respect toward the nobility and mercy demonstrated in Buddhism figure portraits in Buddhist temples has led her to the accomplishment of many beautiful paintings. Her works successfully combine lines and embellishment，common traditional Chinese ink painting techniques, with the brilliant colors often used in Western paintings to create a picture of vigor and gorgeousness. Hopefully，her efforts may bring people pleasant and touching feelings and present a different feature and aspect of color and ink paintings. 論文 |
| 目次 | ● 第一章 緒論 第一節 研究動機 第二節 研究目的 第三節 研究範圍 第四節 研究方法 第五節 名詞界定 ● 第二章 人物畫發展的軌跡及精神 第一節 人物畫的風格及技法之演變 第二節 人物畫與宗教人文的關係 第三節 從人物畫之審視談彩墨人物畫之展望 ● 第三章 個人創作理念與實踐 第一節 人文的省思與創新訴求 第二節 筆墨的建構與實踐方法探討 第三節 畫面的結構與經營 第四節 繪畫表現形式與技法呈現 ● 第四章 個人作品分析 作品一 慈悲喜捨 (六連屏)一. 二. 三. 四. 五. 六 作品二 生機永續 (六連屏)一. 二. 三. 四. 五. 六 作品三 起輦 作品四 香火 作品五 廟的故事 ● 第五章 結論 第一節 相關論述之研究 第二節 彩墨人物畫 第三節 創作理念與實踐 第四節 作品分析 第五節 何當共翦西窗燭 ● 參考文獻 |
| 點閱次數 | 273 |
| 建檔日期 | 2003.11.21 |
| 更新日期 | 2015.06.15 |
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