Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115013
Title: 群聚.延展—劉展君彩墨創作
Cluster and Extension-The thesis of chinese ink color painting by Liu Chan-Chun
Authors: 林昌德
劉展君
Liu Chan-Chun
Keywords: 群聚
延展
Cluster
Extension
Issue Date: 2011
Abstract: 藝術對空間的表現,來自於現實生活,然而又不是對現實生活的刻板複寫。本研究以「植物」與「花朵」圖像為起點,「聚散」為基礎來看待繪畫的發展,滲透著筆者的美學思想,試圖將東方和西方繪畫藝術對空間的表現運用於繪畫創作中。當中主要以中國傳統的宇宙觀和哲學來表達中國繪畫的空間觀營造聚散的美感。 植物是有生命的實體,有感覺,生根在空間裡。當今人類面對新環境,為了保全與鞏固自己的生存空間應像植物一樣有堅強的生命力與適應力。而物與物之間會產生一種物際之美,生物群聚互賴、共生的原則,產生一種多樣中有統一的秩序,筆者欲創造出一種自然式的園景,從自然中找到一種群聚的秩序,表現群聚的力量與生命的延展。 研究論述主要是透過群聚.延展在藝術上意涵,探討自然、環境與繪畫的關係,借用以生觀景的應物移情法表現中國繪畫中結構與形式的美感,筆者在畫面中從植物群聚間疏密排列,以墨色為主調,利用空白與墨色間的虛實對比,構成藝術形象,嘗試打破在視點、時間、光線和地理位置上的約束,用彩線代替墨線,渲染出綿連不絕的無盡天地,試圖營造畫面中的視覺動力與氛圍,給作品以無限生命力的延展,造成無窮的空間。
The expression of art as for the space sources from our real life, but not just a manifestation as an inflexible pictured from life. This study interprets the development of painting which begins form the graphics of plants and flowers as a topic; based on “cluster and extension” expression. By analyzing the painter’s aesthetics, this study attempts to explain the differences between eastern and western painting viewpoints about space expression in arts. The primary contents emphasize the oriental present way toward space in art which is using Chinese traditional world view and philosophy to display the beauty of cluster and extension. The plant is a substantial, which has feelings and roots in space. All Mankind preserve and intensify their survive way is quite similar to the plants’ strong vitality and ability to adapt to new environment. However, this ability forms a kind of beauty presented between objects themselves, and according to the symbiosis principle, all creatures cluster and depend on each other which performs diversity but also an identical order revealed at the same time. The painter would like to create a natural horticulture perspective and he or she can also find the order of cluster to present more vitality and extension of life. By analyzing the meaning of cluster and extension, the motif of this thesis is to discuss all relation or connection about nature, environment and painting--- using the painter’s observation to life and release transference of objects as a painting way which corresponds to the beauty of forms and structures in Chinese painting. The painter is attempt to use some particular methods to present an art form, such as sparse and dense order in plants’ clustering, colors of ink as a mode which locates on blank sheet or thick-ink method to display the contrast of nihility and actual status. Meanwhile, the painter is trying to break through the restriction of vision, time, light, and location. Instead of monotonous black line, the painting uses multicolored ink to vigorously embellish endless land; the whole graphic atmosphere can be constructed as more vivid, powerful, and extensional space by using such painting methods above.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0097603114%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115013
Other Identifiers: GN0097603114
Appears in Collections:學位論文

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