Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114434
Title: 窗影意象—鄧鳳蘇彩墨創作論述
The Window Shadow Imagery ─ A Discussion on Feng-Su Teng’s Color Ink Creation
Authors: 李振明
鄧鳳蘇
Teng, Feng–Su
Keywords: 光影
水墨
窗影
light shadow
water ink
window shadow
Issue Date: 2019
Abstract: 本文研究以中國畫論、美學史及描寫光影的基本要素、特性的原理為理論基礎,為中西繪畫光影形態之探討暨比較筆墨技法、西畫寫生於彩墨畫虛實光影的思維表現。西洋繪畫中,「光」是不可或缺的繪畫元素,從卡拉瓦喬、林布蘭等大師的作品中,可以明顯地看到他們對光線運用的高超技巧,無論是自然光或人造光,在在皆呈現出其驚人的表現功力。在國書水墨晝方面,崇李可染之「掌握自然規律」結合現代審美觀念用心描繪以探求大自然光影之美。 技巧方面運用中國畫之筆墨的力度、層次、方法、格調、內涵等要素在平面上追求三度的立體感與空間感,以虛實強弱、濃淡乾濕的筆墨方法及線的重疊、形的遮檔,並通過輪廓結構與紋理的變化來達到深度感。 研究範圍主要建構於下列三部分:第一、中西藝術之光影型態。第二、窗影創作理念與實踐。第三、創作主題的論述。 在創作理念方面,本文將窗影藝術之意境與窗影寫生之造景來解析虛實窗影創作實踐。當中包含東西方在光影上的技法、美學布局上呈現的空間表現,以此作為個人創作作品分析的基礎。作品創作分為:《記憶之窗》系列、《及時之窗》系列與《穿梭之窗》系列三部分進行創作論述。
The author uses the principles of the theory of Chinese paintings, aesthetics and basic elements describing light and shadow as well as the concepts of characteristics as the foundation of her theory to explore the form of light/shadow between Chinese and western paintings and to compare pen and ink techniques to that of the concept of virtue/real light and shadow display of western color landscaping paintings . Light is an indispensable element in western paintings, one can see clearly from the works of masters such as Caravaggio and Rembrandt, that they displayed superior skills of light application, natural and artificial alike, in all their paintings. As to Chinese paintings, we recommend Li Kieran, whose mastering in the law of nature in combination with modern concept of aesthetics enables his paintings to explore the beauty of nature’s light and shadow. In the aspects of skills: the author uses elements of force,layers, methods,styles , and contents of Chinese painting to pursue the sense of three-dimension and space on a flat surface, she also uses Chinese painting methods of virtue/real, strong/weak,thick/thin and the overlapping of lines and shapes ,as well as the profile structure and changes of texture to achieve the sense of depth. The scope of research of this thesis is based upon the following three parts: the first, the light/shadow pattern of Chinese and western arts. The second ,the concept and practice of window shadow creation. And the third,the discussion/discourse of the theme of creation . In terms of creative ideas, the author of this article analyzes the virtual/ reality window creation practice by using artistic concept of window art and window view landscaping painting, the techniques of light/shadow between Chinese and western paintings, as well as the representation of aesthetic layout of space to form the basis of her individual works. Her creative works are divided into three parts, “Memory Window”series,”Timely Window”series, and “Shuttle Window” series.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0005603123%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114434
Other Identifiers: G0005603123
Appears in Collections:學位論文

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