Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115287
Title: 意構之境—曾霆羽水墨創作研究
“Calligraphic Ink Painting”, “Realistic or Abstract Ink Painting”, and “Deconstructionist Ink Art” – Creation Description by Tseng Ting-Yu
Authors: 王友俊
李振明
曾霆羽
Tseng Ting-Yu
Keywords: 水墨
寫境
造境
意構之境
Ink Painting
Calligraphic Ink Painting
Realistic or Abstract Ink Painting
Deconstructionist Ink Art
Issue Date: 2009
Abstract: 本研究首先就水墨畫發展的歷史,做一概念上的釐清。水墨畫從唐代王維開創「渲淡」、「破墨」等表現技法開始,由於契合文人志士「天人合一」等思維,漸漸形成完整之文人畫價值系統,時至西強東漸,在船堅砲利下,知識份子遂提出改革,水墨畫亦進入另一個「改革」的歷程,在啟蒙運動的理性中,現代主義的形式化和進步論中,就水墨的表現語言和圖像結構的拓展上均有豐碩的成果,然而,近幾十年來現代化帶來便利,卻也帶來更多問題,後現代思潮又對理性和進步論等迷思提出反省,水墨畫又進入下一個階段,年輕的水墨畫家對「改革」實已喪失興趣,取而代之的是個人以囁嚅的語境,片斷的詮釋世界。因此筆者以「寫境」、「造境」和「意構之境」三個概念對應水墨發展歷史上的變化。 接著再以「審美精神的轉變」、「表現語言的轉換」和「圖像結構的複合」三個面向來切入分析「寫境」、「造境」和「意構之境」中的同異,在文化的發展過程中,如遇外來文化,會由外而內漸次質變,如西強東漸當時,首現仿效的就是船堅砲利等外顯,接著才是五四新文化運動之內化,水墨畫的質變亦如此,先從外顯性的表現語言和圖像結構開始,最後才是審美精神的轉變。 最後則以個人所處當下所面對的生存狀態,做一探討和研究。在後工業社會或稱資訊時代的當下,從自然過渡到人化的自然,從真實過渡到虛擬後,在短暫的不適應期後,虛擬世界又變為人的真實延伸,在一連串的變動中,人的如何面對是筆者創作上所欲探討之課題。 關鍵字:水墨、寫境、造境、意構之境
This paper begins with an attempt at clarifying the chronological developments of ink painting. It all started when the popularly known poet and important painter of Tang Dynasty, Wang Wei, brought in the innovative techniques such as xuandan(water-and-ink rendering) and pomo(breaking the ink), a fully comprehensive literati painting value system which aims to echo the concept of “reaching perfect harmony between mankind and the great nature” has thus been constructed. With time going, when solid ships and effective guns broke through Chinese “conservative barriers”, scholars of the time cried for restoration and reform, which has also stimulated ink painting to thrive on stress. Having been greatly influenced by the rationality of the Enlightenment, the formality and progressivism of the Modernism, there have been fruitful outcomes in terms of performance and graphical structure of ink painting. Although modernization did introduce convenience to millions worldwide, there are also demerits. Post-modernism provides an opportunity to give rationality and progressivism a second thought. There is not much passion about restoration and reform found in younger generation; as a matter of fact, they are more interested in murmuring their own interpretations of the world. Hence, this paper divides ink art conceptual development into three phases: “calligraphic ink painting”, “realistic or abstract ink painting”, and “deconstructionist ink art”. “Shift in aesthetic appreciation”, “changes in performance”, and “synthesis of graphical structure” are used as three dimensions to distinguish the differences and similarities of the phases mentioned. Every culture evolves, from the surface to the core, whenever it meets the ‘foreign’ counterparts. This explains perfectly why the development of ink painting started with the shift in performance, following by changes in graphical structure, and finally, the shift in aesthetic appreciation. This paper concludes with a discussion on current environment. So-called “post-industrialized society” or “information age” has altered the world. How we adapt to the changes and trend is the pivotal study for creative researchers. Keywords: ink painting, calligraphic ink painting, realistic or abstract ink painting, deconstructionist ink art
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0694600282%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115287
Other Identifiers: GN0694600282
Appears in Collections:學位論文

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