中國畫論的形神概念應用於環境海報設計創作之研究
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2016
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面對設計風格百家爭鳴，地域性的文化背景成為各地設計的重要表徵，若能使作品「表」、「裏」合一，並運用自己的文化特色與思考邏輯進行創作，則更能在全球化的多元設計舞台中獨樹一格，彰顯其特有價值。中國畫論不只是先人智慧的結晶，更從構思立意與創作表現兩個層面來探討視覺藝術之本質，其中，形神論為相當重要且影響廣泛的美學理論之一，不但有著源遠流長的理論基礎，還富有文化與時代的價值。
有鑒於此，本研究以中國畫論的形神概念為切入點，透過設計的語言（形式語言、修辭語言）重新詮釋其重要精神，探尋繪畫歷程與設計流程的對應之處，並據以歸納出應用形神概念的設計表現。最後再依循所得結果進行以環境災害議題為主題的實驗創作，用以檢視整體成果，希冀能在傳統中華文化與視覺設計的激盪和調融中發現新的創作可能與思考方向。
本研究歸納出的形神表現形式分為：以形寫形、以形寫神、以神寫形、以神寫神四類。研究結果發現：
一、中國畫論中的形神概念有應用於視覺設計創作的可能。
二、形神論的思維模式不受文化地域限制，廣泛被應用於視覺設計的創作過程。
三、若要分析作品的形神關係，必須先了解該作品的構想以及表現形式。
四、不論以形寫形、以形寫神、以神寫形、以神寫神，最終目的皆為「傳神」。
五、以形寫神的設計手法在創意表現應用上相對的較為廣泛。
When faced with the decision between the hundreds of different design theories, cultural background becomes the most important characterization of each regions design style. If we are able to perfectly unify a design work’s outward appearance to portray its deeper meanings while also fully incorporating one’s own culture’s unique characteristics and logical cognition into the designs, then it would give us the ability to standout on the stage of global design styles, allowing us to highlight the designs exclusive qualities. Chinese painting theory isn’t merely the cumulative wisdoms left behind by our forefathers, it also utilizes both the ideals of conceptualization and creation in order to contemplate essence of visual art, of which ‘form-spirit’ is a widely influential theory of aesthetics; not only being a theoretical foundation with a long-standing history, but rich in cultural and historical importance. In consideration of the above, this study will adopt the concept of ‘form-spirit’ found in Chinese painting theory as the basis for its research, comprehensively reinterpreting its most important principles through the language of graphic design (including language of form and language of visual rhetoric), in order to identify the correlations between the processes of painting and design, and subsequently discovering how best to implement the concept of ‘form-spirit’ into design. Finally, this study will utilize the findings by implementing those principles into the design of posters related to environ-mental issues. Hoping this study can conceive new creative possibilities and inspirations from the fragments of this artistic collision between traditional Chinese culture and graphic design. The findings of the research show that ‘form-spirit’ has four manners of manifestation: expression of form through form; expression of spirit through form; expression of form through spirit; expression of spirit through spirit. It also concludes the following: 1. The concept of ‘form-spirit’ found in Chinese painting theory can be applied to graphic design works. 2. The concept of ‘form-spirit’ are not limited to any one region or culture as it is wide-ly incorporated into the graphic design process. 3. If you want to analyze the relationship between form-spirit within a design, it neces-sary to first understand the artwork’s visuals and concept. 4. No matter which manner of manifestation is incorporated, the most essentially goal is to create works with vividity. 5. The most commonly implemented ‘form-spirit’ principle during the process of graphic design is ‘expressing spirit through form’.
When faced with the decision between the hundreds of different design theories, cultural background becomes the most important characterization of each regions design style. If we are able to perfectly unify a design work’s outward appearance to portray its deeper meanings while also fully incorporating one’s own culture’s unique characteristics and logical cognition into the designs, then it would give us the ability to standout on the stage of global design styles, allowing us to highlight the designs exclusive qualities. Chinese painting theory isn’t merely the cumulative wisdoms left behind by our forefathers, it also utilizes both the ideals of conceptualization and creation in order to contemplate essence of visual art, of which ‘form-spirit’ is a widely influential theory of aesthetics; not only being a theoretical foundation with a long-standing history, but rich in cultural and historical importance. In consideration of the above, this study will adopt the concept of ‘form-spirit’ found in Chinese painting theory as the basis for its research, comprehensively reinterpreting its most important principles through the language of graphic design (including language of form and language of visual rhetoric), in order to identify the correlations between the processes of painting and design, and subsequently discovering how best to implement the concept of ‘form-spirit’ into design. Finally, this study will utilize the findings by implementing those principles into the design of posters related to environ-mental issues. Hoping this study can conceive new creative possibilities and inspirations from the fragments of this artistic collision between traditional Chinese culture and graphic design. The findings of the research show that ‘form-spirit’ has four manners of manifestation: expression of form through form; expression of spirit through form; expression of form through spirit; expression of spirit through spirit. It also concludes the following: 1. The concept of ‘form-spirit’ found in Chinese painting theory can be applied to graphic design works. 2. The concept of ‘form-spirit’ are not limited to any one region or culture as it is wide-ly incorporated into the graphic design process. 3. If you want to analyze the relationship between form-spirit within a design, it neces-sary to first understand the artwork’s visuals and concept. 4. No matter which manner of manifestation is incorporated, the most essentially goal is to create works with vividity. 5. The most commonly implemented ‘form-spirit’ principle during the process of graphic design is ‘expressing spirit through form’.
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中國畫論, 形神論, 設計語言, 視覺修辭, 海報設計, 環保, Chinese painting theory, form-spirit theory, language of graphic design, visual rhetoric, poster design, environmental issues