Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114340
Title: 山川氤氳的水墨表現 - 江麗香創作論述
Misty Mountains and Rivers in Ink: The Discourse of Creation by Chiang Li-Hsiang.
Authors: 李振明
LI, Chen-Ming
江麗香
Chiang, Li-Hsiang
Keywords: 老莊美學
氤氳
現代水墨
白線的張力
Lao-Zhuang aesthetics
Misty ink method
Modern ink painting
Tension of white line
Issue Date: 2016
Abstract: 本研究取材自然山川為繪畫題材,從形式與內涵探討傳統水墨和現代水墨演變的趨向。在形式上,現代水墨已跳脫傳統水墨固守的筆法規範,但在精神意涵上,現代水墨仍珍視傳統美學觀,氤氳墨法,氣韻生動依舊是水墨畫家追求的意境表現。 筆者有文學的背景,所以研究時從文學、哲學、與藝術史的角度切入,第一章緒論中闡述個人研究動機與目的、研究範圍、研究與創作的關係等,並將重要名詞加以解釋。第二章探討山川美學的起源與演變,在魏晉時期勃興的紀遊文學,啟蒙了山水畫,再和崇尚自然玄遠的老莊思想結合,形成文人山水畫獨特的美學觀。第三章探討傳統文人畫筆情墨韻的藝術表現,對比現代水墨關於筆法線條與肌理的新詮釋,線條仍是畫面構成的主要元素,但在現代水墨畫家筆下已呈現豐富多樣的新表現語彙,說明筆墨當隨時代的概念。第四章論述現代水墨藝術的創作理念,著重新媒材、新技法的實驗,與時代新思維接軌。第五章藉由作品的分析,說明筆者的創作理念與創作形式。結論歸納筆者由傳統文人畫跨入現代水墨過程中的自我探索,與對未來的自我期許。
The objective of this study was to investigate the evolution trend for traditional and modern ink painting from the form and content. The painting themes in this study were drawn from mountains and rivers in nature landscape. Formally, modern ink painting has tripped from the stick strokes specification of traditional ink. However, in the spiritual meaning, modern ink painting still cherishes the traditional aesthetics. Misty ink method and vivid atmosphere rhythm are still the pursuing performance of artistic spirit for ink painters. The author has a literary background; thus the perspectives of literature, philosophy, and art history were further investigated. In the first Chapter, the motivation and objective, research scope, and relationship between research and creation were expounded. The second Chapter discussed the origin and evolution of the aesthetics of mountains and rivers. The travel literature was prosperous in the Dynasties Wei and Jin. It enlightened landscape painting and combined with the thoughts of Taoism resulting to a unique aesthetics of literati landscape painting. In the third Chapter, the art performance of pen brush sensation and ink rhythm in traditional literati painting in contrasting with the new interpretation of strokes, lines, and texture in modern ink painting were further investigated. The lines are still the main element of picture composition, but a variety of new performance vocabulary has been presented in the works of modern ink painters. This explains that the ink painting should follow the contemporary concepts. In the fourth Chapter, the creative ideas of modern ink art were discoursed and focused on the connection with new mediums and experimental techniques to new age thinking. The creative ideas and forms of the author were explained in the fifth Chapter by analyzing self-works. The author summarized the conclusions from the traditional literati painting over self-exploration processes in modern ink painting and self-expectations for the future.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0002603103%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114340
Other Identifiers: G0002603103
Appears in Collections:學位論文

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