Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114843
Title: 山海情‧人文心─建構台灣自然景觀圖像之創作研究
Roaming in Nature with a Humanistic─A Creative Study on Contructuring the Images of Natural Landscapes in Taiwan
Authors: 蘇憲法教授
陳清海
Keywords: 山水畫
風景畫
油畫山水
台灣自然景觀像
landscape painting
oil painting
Taiwan natural landscape
Issue Date: 2007
Abstract: 論文摘要 本論文以中國山水畫、西洋風景畫及當代台灣自然景觀圖像之建構進行探討,並鎖定以表現自然景觀為對象的題材作為研究範圍。 中國山水畫與西洋風景畫,雖同以大自然的景觀作為表現對象,但因分別處在兩種不同的文明當中,人民所處的地理環境、歷史發展、生活習俗、認知理念、文化精神取向均不相同,致所表現出的藝術精神、審美理念、風格形式、媒材技法等均各異,互擅所長。直至一百多年前,因西方工業科技的進步,向東方擴展,才開始兩種藝術類型的接觸和交流發展。而不管那一種藝術,要想獲得更堅韌的生命力,得到永續的發展與茁壯,唯有在相互的交流中,互相融合吸收各方所長才能達成目的。 而作為與中國文化同源的台灣,其現代美術的發展,亦在此時期開始,並分別匯入中國文化與西方文化的影響,在兩種藝術的交流激盪中,思考兩者的融合問題,同時亦在比較中見證到不同的地域、生活環境,將會產生不同的生活習俗與思惟模式,據以產生具有地方「獨特性」的藝術,而此乃是藝術的價值所在。 台灣的美術家在中國山水畫與西洋風景畫中,開始思惟建構台灣自然景觀圖像的嚴肅問題,當代畫家重新認識台灣並反省其所處的文化背景,深入地觀看台灣景觀,並以歷史的、人文的角度去思考其內在的精神特質,是台灣美術的新一波風潮,而其面貌尚有許多待開發的空間。故個人嘗試以「山海情‧人文心~建構台灣自然景觀圖像」作為創作研究的主題,企圖以「油畫山水」的表現形式,作為探討中國山水畫與西洋風景畫兩者融合的可行性研究,結構分為六章來分別論述。 一、就研究動機、內容、目的與研究方法作敍述說明。 二、詮釋個人之創作思想理念與理論基礎。 三、以作品分析中國山水畫與西洋風景畫的發展,及特質的比較,並探討近代與當代台灣風景畫的發展。 四、論述個人創作之主題內容、表現形式、表現媒材、技法等 五、以個人的作品就主題、內容、形式結構、心得感想作分析。 六、結論與期許。 自然景觀和人文歷史就像孿生兄弟,人文歷史將影響人們對自然景觀的認知。 關鍵詞:山水畫、風景畫、油畫山水、台灣自然景觀圖像
Abstract The thesis "Roaming in nature with a humanistic touch: A creative study on contructuring the images of natural landscapes in Taiwan" treats how natural landscapes are presented in Chinese and Western landscape paintings as well as the structuring of contemporary Taiwan landscape images. While Chinese and Western landscape paintings both deal with natural landscapes, there is a difference in their essence of art, aesthetic, styles, materials and skills. The distinguishing features of Chinese and Western landscape paintings originate from two civilizations whose geographical environments, historical backgrounds, traditions, cognitions, etiquettes and dealing and cultures are different. Both art traditions have not communicated with each other until approximately a hundred years ago, when the advanced industrial technology in the Western world reached to the Orient. To maintain vitality and vigor, both art traditions should continue to communicate, thereby profiting from each other. In addition, Taiwan, whose culture is akin to Chinese culture, has gradually created local uniqueness of art under the influxes of Chinese and Western cultures and art. Artists in Taiwan begin to deliberate on how to structure Taiwanese natural landscapes in the context of Western and Chinese landscape paintings. Contemporary painters start afresh their knowing of Taiwan and reflect on its cultural background. They observe the landscapes in Taiwan in depth, cogitate their intrinsic spirits with historical and humane perspectives, thereby creating a new artistic trend in Taiwan. To explore more about such trend, this thesis endeavors to treat the feasibility of combining Chinese and Western landscape painting traditions by presenting the "Chinese traditional landscape in oil painting". The thesis is composed of six chapters. Chapter 1: To introduce the motive, content, purpose and research method of this research. Chapter 2: To elaborate the concepts in personal works and the related theories. Chapter 3: To analyze the developments of Chinese and Western landscape paintings, compare their traits and discuss the development of contemporary landscape painting in Taiwan. Chapter 4: To elaborate the contents, forms, materials and skills of personal works. Chapter 5: To analyze the subjects, contents, forms and reflections of personal works. Chapter 6: Conclusion and Expectation. Natural landscapes, culture and history interplay. The thesis accordingly expounds that the latter two will influence how people perceive the natural landscapes. Key words: landscape painting, oil painting, Taiwan natural landscape
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0093603107%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114843
Other Identifiers: GN0093603107
Appears in Collections:學位論文

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