Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115062
Title: 心靈的異想場域創作研究
The Creation Research on the Fantastic Field of the Mind
Authors: 黃進龍
白穆君
Pai,Mu-Chun
Keywords: 心靈的異想場域
寫實繪畫
Field of the Mind
realistic painting
Issue Date: 2013
Abstract: 抽離外在本體後,筆者發現自己與草有著深刻的情感,本著對大自然迷戀的創作初衷本質,以自家的草地作為創作的出發起源,藉由「草」以及「芭蕉葉」作為主要元素用以貫穿個人的繪畫創作源頭及理念構築的發想點。 研究論述之主要架構包括:(一)創作精神及主題討論;(二)創作形式與技法探測;(三)作品分析與內涵詮釋等三大部分。本研究範圍從筆者就讀研究所一年級2010年作起點,以「草」為主要元素所延伸的系列作品為主,進而連接到以芭蕉葉為主角的系列作品,藉由創作實踐並以理論分析作為輔助,從對「草」的「家情」觀照反思轉化到自我內心「心靈的異想場域」的營造。 在第一章緒論中,分別說明了本創作研究的動機與目的,研究方法及步驟以及限制範圍的界定,將筆者創作思路一一清楚說明。 第二章則以浪漫主義的「自由」精神做為開端,引入主體創作自覺精神的建立,經由佛洛伊德「心靈景色」以及「簡約主義」的啟發,觸動了「家– 草地–芭蕉葉」的主題探究轉化到內心「心靈的異想場域」的營造。因為筆者受到西方藝術的影響,所以可以在筆者的繪畫創作上看見某些西方特定時期的思維模式或是表現手法的沿用。透過探索自然以及對自然的關懷,體會寫實繪畫的定義並不單單只追求事物的外在形象,整個過程從親近大自然與崇尚心靈自由的浪漫主義到指涉人文社會之心靈的異想場域;透過浪漫主義的遐想,營造出富含隱喻性的創作畫面讓觀賞者產生共鳴及聯想。第三章則是針對筆者個人整體創作研究所著重的「美學形式」與慣用的「寫實技法」呈現創作上的初步探測,筆者認為,以油彩為媒介,要表現自然,色彩變化固然重要,但相對的型的掌握也不可缺少,所以,表現風景除了要先感受當時心情及陽光的變化外,古典寫實主義所要求的基本功夫也不可遺忘。 第四章則是聚焦在創作實踐的作品部分,從「草地」、「芭蕉葉」兩系列主題的內涵與形式手法,將個別作品做更深入的詮釋。 第五章則是將本創作論述做結論,並展望未來創作發展之可能。 關鍵詞:心靈的異想場域、寫實繪畫
Detached from the ontological concern, I find that I have strong sentiment with grass. With the attachment to Nature, the grassland of my home serves as the origin of the present creation research. Grass and the banana leaves are the essential element that penetrates the origin and ideas of my painting. The framework of the thesis is: (1) the spirit of creation and the thematic discussion; (2) the form of creation and the investigation of skills; and (3) work analysis and the content interpretation. The scope of the research begins with the year of 2010, the time of the first year of M.A. Moreover, grass is the prominent element of the research, and then links it to the series of artworks thematically concerned with banana leaves. With the practice and the theoretical analysis, the researcher seeks to reflect on both the two elements—i.e., grass and home love—and the construction of the fantastic field of mind. Chapter I, Introduction, clearly outlines the motivation and purpose of the research, methodology, and the scope of research. Chapter II begins with the mind of freedom of romanticism, and then seeks to build the self-awareness of the subjective creation. Based on Sigmund Freud’s concepts of “spiritual landscape” and “minimalism,” the thematic probing transforms from “home – grass land – banana leaves” to “the fantastic field of the mind.” Hence, influenced by the western art, my works sometimes reveal a certain notion of western art or its art techniques. Through exploring and taking care of Nature, I find that the definition of painting is not merely to pursue after the external figure of the object. Instead, the whole process begins with the intimate access to Nature and the romanticism that aspires after Nature, referring itself to the fantastic field of the humanistic social mind. Through the imagination of romanticism, I attempt to create metaphoric works, which allow the spectators to imagine and correspond to. Chapter III probes the aesthetic form of my whole works of the thesis as well as my habitual realistic technique. I argue that the grasp of form is necessary, though the importance of color variations used to express Nature through greasepaint. Hence, as the expression of the landscape is concerned, the sentiment and the sun changes of the time are important, but the basic skill required in the realistic neo-classism is never negligible. Chapter IV focuses on the practice of the work, and then deepens the discussion on the works based on two themes: grass land and banana’s leaves. Chapter V attempts to conclude the research creation and exhibits the possibility of the future work.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0099603106%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115062
Other Identifiers: GN0099603106
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