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Title: 人與自然的和諧共生
The Co-existence of Human and Nature in Harmony
Authors: 蘇憲法
Su Xian-fa
Wang Qiong Li
Chen Mei-Yao
Keywords: 自然環境
the environment
aesthetic perception
Issue Date: 2007
Abstract: 筆者深刻的體認到自我的生命因連繫著整個內在與外在世界的環境而美好,這個環境蘊含著豐沛的創作元素,其深潛的原始秩序更是自然生命力的表徵,而雋永、理想化的古典主義美學觀,引領筆者依據其理性調和的形式作為本系列油畫創作的表現根基。對於畫作的內涵以及具象構成的形與色,筆者始終以視覺之「和諧」性為最高目的,天地萬物間所連結的生命現象,筆者取其之間感通與溫煦的精神面向,建立起個人的藝術表現特質,將形式與色彩的組合,主構在美學與哲理的思想基礎上。 由美學思想、哲學觀點,參悟人的身體與心靈乃總和於自然環境方得以展現其本質生命力,而個人的理想價值意念,以明確的創作內容與意涵,傳達人世間美與純淨的原貌思維,藝術創作中的人(主體)與自然社會(客體)的基本關係,在有意識的理想層次上,論證藝術在世界的表現活動中彰顯了所謂的人文價值。 闡述知性與感性匯集成的創作語彙,以古典主義的美學觀在十五世紀的文藝復興時期中,其多元化的視覺結構方式;與十七世紀巴洛克情感與精神的運動性的藝術形式,具體投射了創作者個人內化精神的表徵性格,在現實生活中擷取與紀錄具體的人世樣貌,以周遭親近的人、物、景等自然元素為題材內容,建構秩序、平和與美感的繪畫生命。 本油畫創作系列依作品象徵之內涵性質,共分為四個系列,依序為:生命的發源地―海洋系列、原始的生命力-遊戲系列、人與動植物的和諧互動系列、關照人世間―身心靈寫實系列。藝術創作的表現深具感染力、需要說服力,美可以自由欣賞,也可以是反思的產物,人在審美狀態中擺脫了物質世界,得到淨化的提升。 關鍵詞:自然環境、生命、共生、美感、淨化
Based on the strong belief of the author/painter, it is the association with the entire natural world, internal or external, that makes life itself glorious. As a matter of fact, it seems that all the abundant supply of the elements needed for an artistic creation is contained in the very environment around us. And it is, furthermore, the primal law and order deeply embedded in it that has the strength of life hence characterized. The aesthetics, exclusively belonging to the classicism, is in essence meaningful and idealized. Such an essence of rationality and accommodation helps the author/painter establish the root belief and lay the groundwork for the later-displayed oil-painting series. The ultimate aim of this thesis is to present the harmonious effect a painting can bring to one’s sight. Through the observation and appreciation of the living phenomenon shown by all kinds of creation in the universe, the artistic characteristics displayed in the oil painting works, are therefore determined. With the initiation from the aesthetics and philosophical viewpoints, the integration of human and nature, the vitality of life is arisen. Personal ideology and value toward life is explicitly expressed and communicated by means of the painting works created by the author/painter. The essential relationship between human, the major part, and the natural surroundings, the minor part, is deliberately established on the ideal arrangements of multilevel. Furthermore, the worth of so-called humanities is manifested forth by the demonstrable arts shown in the performances and activities of the western society. There also come along a number of terminologies developed from the exposition of sense and sensibility. During the Renaissance in the 15th century, there went a thriving trend for aesthetics of classicism. It featured its optical art of diversified formula, which was in turn echoed by the Baroque spirit and attachment in the 17th century. Both of them lay much emphasis on the rational basis. The characteristics of the personalities and spirits derived from the author/painter’s works are hence embodied and projected. The materials for the inspiration of the created works are all retrieved from the authentic life. Every single item of creations from the natural environment is likely to be chosen as the focused material for the next piece of works. In accordance with the essence intended to be presented in the works, there include four categories: “Cradle of life – the ocean part”, “Vitality of life – the game part”, “Harmonious interaction– the human and animal part”, “Empathy and care – the body and soul part”. Art itself is not something static, but forever in a dynamic state. In other words, with any piece of artistic works placed in front, one is possibly to be fascinated by its contagious and convincing power, and in turn to feel free either in the implicit appreciation or in the explicit interaction. Key words: the environment, harmony, life, aesthetic perception, purify
Other Identifiers: GN0593603020
Appears in Collections:學位論文

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