Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114851
Title: 圖騰之意象表現-王永林的水墨創作論述
The Image of Totem- Wang, Yung-lin’s Creation of Ink andWashing Painting
Authors: 李振明
王永林
Wang, Yung-lin
Keywords: 圖騰
人面
線性
書象
風化木
totem
cliff painting of human face
calligraphic
linear
weathered wood
Issue Date: 2007
Abstract: 摘 要 本研究從原始圖騰崇拜的切入點進行探究,藉由人面岩畫所呈現特殊的「神秘、象徵」性質,及其呈現的造型,非以一般「看」的造型,而是一種「純感覺」或「感覺點」的造型,爆發出一種不可思議的張力,傳遞出引起深刻動機的當代人內涵性情愫,試圖創造出時代新圖騰,圖騰意象不在於倒回原始文明,而是設法暫時離開資訊化的文字文明,追尋文字表達以外的方式,尋思出真正適合自己所處社會、文化脈動息息相關的契機來創作。 所有繪畫都是以圖騰造型的,而圖騰造型不只是爲了再現意涵,也是爲了表現。除了研究題材的範圍擴展外,繪畫本體美學的分析也是一項要點,文中以書象線性的抽象形式來表述一種哲理的、意識形態的反思。它通過畫面的動來取靜,以傳達出更深層次的精神內涵。 應用的材質「風化木」是自然界生成的材料,在創作中,也是與人類關係最為親密的材料之一,它們在質感上是無可替代,透過環境、時間風化的木質媒介更能彰顯主體的滄桑、惆悵,清晰地表現出人面心理的圖像,感受到圖騰的原始神祕魅力,透過這樣「個人的」藝術符號及材質構成方式,就可以發現自我、表現自我的一種可行性方法,畫面經營將三度視覺概念轉化為二維畫面,虛實可以是二維平面的對比,也可以是三維空間的對比,所以在畫中兩種空間並存,但虛實更多的是一種平面的空間觀。 當代水墨畫探索一直在繼承中開闢新路。時至今日,當代水墨畫解構與其建構在廣泛吸納外來文化以及自身的發展基礎上變得異彩紛呈。其中,近幾十年來新生的當代水墨的水墨新意境起了一定程度的延伸作用。無論從形式語言到繪畫所表現的精神內涵都尚趨於多元實踐與多方探索,探索的定位也正是畫家為大膽接受新思維、嘗試新方法,以在作品中納入多元化因素而自我解套的一種方法。 本研究試圖在題材上打破傳統的格局、生活中的新事物,和擴大了社會內容和繪畫語言形式。意象圖騰吸收西洋的美學、形式、技法及傳統東方精神,兼採中西繪畫之長將水墨畫與現代藝術熔於一爐,以充實水墨畫的精神意境與筆墨的當代思考,從內容到形式創造出新的繪畫語言。
This research aims at exploring the image of primitivetotems. The cliff paintings of human faces which display the unique “mystery” and “symbol” convey the immanent emotions with inconceivable tensibility. The paintings should be admired with a kind of “pure feeling” instead of “looking”. The totems do not function as representation of primitive culture but as the medium which helps us escape from technology and writing civilization. The creation tries to convey the conception beyond the words and to present what fit in with the modern society and culture. All the paintings come from totems. Totems present not only immanence but also the expression of their own. This study also takes emphasis on the analysis of the aesthetic theory of paintings. It depicts the philosophical and ideological introspection through the calligraphic linear abstract forms. The deeper static spirit is displayed in the dynamic state of the painting. “Weathered woods” applied in creation are natural materials which cannot be replaced due to their specific characters. By using weathered woods, the dreary image of human faces and the mystery of primitive totems are clearly expressed. Ego is found and displayed through the “personal” art symbol and material construction. The notion of three-dimensional space is transferred into two-dimensional plane. Nihility and reality coexist in the two spaces, conveying spatial viewpoint in the plane. Modern ink and washing paintings are devoted to carry on the past and open a way for the future. They are blended with the foreign culture, deconstructing and reconstructing the forms into the splendid aesthetics. Among these decades, the thoughts of modern ink and washing paintings have been extended in many new styles. The artists accept new thoughts, trying the new ways in creation. The works diversify in external images as well as internal spirit. Artists explore new images by blending with multiple factors in their creation. This research tries to expand the social and painting language models in materials and theme. Western aesthetic theory, forms and technique blend with traditional eastern spirits through totem images in works. It creates the new painting language both in internal emotions and in external forms by the combination of the traditional Chinese ink and washing painting and modern art.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0093603116%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114851
Other Identifiers: GN0093603116
Appears in Collections:學位論文

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