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Title: 魚路古道采風—磺火捕魚 余真賢水墨創作論述
Impression of the Ancient Fish Route and Sulfur Flame Fishing
Authors: 程代勒
Chen, Tai-Le
Yu, Jen-Shyan
Keywords: 陽明山
Ancient Fish Route
Sulfur Flame Fishing
Chinese Landscape Painting
Learn from Nature
Yan Ming Shan
Issue Date: 2016
Abstract: 魚路古道位於陽明山國家公園境內,是百年前金包里(金山舊地名)漁民運送漁獲至臺北士林地區販賣的交通要道。魚路古道起點為金山磺港漁村,當地為早年西班牙人出口硫磺的港口,由於取材方便,漁民以磺火捕魚法,利用魚群的趨光性,以磺石燃燒的瞬間火光吸引魚群跳出水面後再以魚網捕撈。全盛時期,北海岸有上百艘蹦火捕漁船,然而近年僅存四艘,為全臺唯一保有古老捕魚方式之處,並為全世界獨一無二的傳統漁業技藝。近年來在新北市的觀光推廣下,金山磺火捕魚逐漸受到矚目,由於磺火點燃時魚群跳耀的景致甚為美麗,遂為許多攝影愛好者的私房景觀,然而以此為題材的書畫藝術作品甚少,所以決定以此為題材創作系列作品,期望透過藝術關懷略盡綿薄之力。 除了磺火捕魚的特殊景致外,魚路古道周遭環境生態豐富,可提供多樣性的創作題材,於是我以寫生為出發,運用近年學習多樣媒材的經驗,嘗試將版畫結合水墨技法表現。 本文由傳統山水畫美學觀之論述與寫生技法之探討、歷史回顧,透過個人所學美學認知,探討中國繪畫心象與相關創作理論,並將之實現於結合版畫製作與水墨山水畫的創作之中。清代著名山水畫家石濤曾說「搜盡奇峰打草稿」,強調寫生之重要,唐代張璪則說「外師造化,中得心源」,表示除了寫生之外,需以謙卑胸懷感思自然後創作,這些名言是我個人學習與創作歷程的最高目標,期許作品能如六朝名家王微所言「望秋雲,神飛揚;臨春風,思浩蕩」,能使觀者身歷其境之餘,也感受到我創作時的感動。 透過結合水墨技法與版畫之現代水墨畫創作,探討兩者間是否相融或衝突,並對本論文創作作品提出檢視與反省,作為未來創作可努力的方向與期許。
The ancient fish route, located in Yan Ming Shan National Park, was the main thoroughfare for the fishermen in Jin Bao Li (nowadays Jin Shan) to ship their catches to sell to Shi Lin District in Taipei a hundred years ago. The ancient fish route started at the fishing village of Jin Shan Huang which used to be the port for exporting sulfur by the Spanish in the early years. Because of the abundance of sulfur and the fish’s attraction to the light, the fishermen made use of the sudden flames given out by burning the sulfur to attract schools of fish to jump out of the water and then caught them with the fish nets. In its hay days, there were hundreds of fishing boats using this method to fish in the northern coast of Taiwan. However, nowadays there are only four fishing boats left to preserve such an old method of fishing, which is also the most unique fishing technique in the world. Recently, through the promotion of New Taipei tourism, the beautiful scene of fish jumping out of the water with the sulfur flames (Jin Shan Sulfur Flame Fishing) gradually attracted people’s attention. Although a lot of photographers have captured this fascinating scene in pictures, yet there is very rare to find paintings using this activity as subject. Therefore, I decide to make use of this subject as my topic for a series of creative art works. In doing so, I hope to contribute a little to the preserving of this tradition. Besides the special scene of fishing with sulfur flames, the rich environmental ecology near the ancient fish route also provides various subjects of creative inspiration. Therefore, I started with sketches from nature, then made use of the experience of multi-medium and techniques I learned in recent years to combine engraving with water color and ink to compose a series of art works. This paper will discuss and explore Chinese imageries in paintings and the theories related to the creative works. I will start with the discussion of aesthetic of traditional Chinese landscape paintings and the techniques in sketching from nature along with the historical review and my personal knowledge on aesthetics. I will also apply those theories in my creative art works of combining engraving with Chinese ink landscape paintings. Famous Chinese landscape artist of Qing Dynasty Shi Tao once said, “(One should) sketch all fascinating mountain peaks” which emphasizes the importance of sketching from nature. Zhang Cao of Tang Dynasty said, “By study nature, one can gain inspiration.” This saying not only mentions sketching from nature, but also indicates that only by humbling oneself to respect nature, one can get inspiration to create. These sayings have presented me the highest goal of my personal learning and creative process. As famous artist Wang Wei of Six Dynasties puts it, “Spirit soars when staring at the autumn cloud, feeling vast and mighty when facing spring wind”. I hope that my works will not only help the viewers immerse in my paintings, but also get the viewers to experience the moving emotions I had while creating them. In hope of providing future creative direction and prospective, this paper presents my review and introspection through the discussion of whether there is compatibility or conflict in combining Chinese ink painting techniques with engraving in creating modern ink painting.
Other Identifiers: G0002603119
Appears in Collections:學位論文

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