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|Title:||「海 · 人」－海洋場域中的人類樣態繪畫創作研究|
"Oceaner" -Painting Research of Human Appearance and Behaviors in the Ocean
demeanor of people
|Abstract:||「海 · 人」，將字平面化來拆解，可以解釋成為——海是人的母親。台灣是一個四面環海的島嶼，但是台灣人相對的對於海卻沒有很親近，長輩們在筆者小時候便開始耳提面命，海洋是未知的、是危險的、是兇殘的，每當我們接近海邊總是提醒我們要多加小心，也許因為這樣的社會風氣，台灣海洋教育相對不被著墨，台灣富含多樣的珊瑚種類、熱帶魚，甚至是國際級的潛點，我們身處這樣豐富的環境卻不自知，而隨著研發改進，人們越來越容易得以親近海洋。
“Oceaner” can be interpreted as ocean is mankind’s life giver, if people analyze the term thoroughly. Taiwan is an island surrounded by seas from all aspects, yet Taiwanese people are not really familiar with oceans. Elders have been warning me ever since I was small—ocean is unknown, dangerous, and vicious. People were constantly reminded to be extra careful if near the water; therefore, marine education in Taiwan was not prevalent. Taiwan comprises various corals, tropical fish, and a spectacular surfing spot. Though unaware such rich environments and surroundings, people are learning more about oceans along with the developments in research. People constantly obtain resources, food and establish culture also economy within ocean as if a mother would behave so to her own children: give without hesitation, nurture them to grow and be strong. However, a mother cannot provide unlimitedly. The earth is weakening from people’s greed, and the climate is getting fickle, so people need to start emphasize the importance of protecting the environments with actions. Having actual experiences with the oceans can make them visible, even three-dimensional to Taiwanese people so they can be proud of the oceans as they are proud of the Taroko National Park. People can be proud of the treasures within water, and cherish the landscapes underneath the sea level. People can contemplate on the interactions with the marine through observing the interrelationships of marine ecology, and further think about the relationship with the ocean; wet the feet, be a part of ocean and transform into oceaners. My thesis is divided into six chapters: chapter one explains the motivation and objective of using oceaner as my painting foundation, early chapter two demonstrates the history of portraits, Expressionnisme, and Photorealism; the rest of chapter two briefly discusses different kinds of water activities, chapter three comprises my concept of creation and background elaborating on oceaner, also the image of ocean field and the characteristics of portraits underneath water; chapter four illustrates the painting techniques, chapter five introduces the paintings individually, and chapter six is the conclusion.
|Appears in Collections:||學位論文|
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