Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115565
Title: 自然、水墨、時代性:寫生與心象的創作剖析
Value of Nature in Contemporary Ink Painting:From Sketching to Images of Mind
Authors: 王友俊
何懷碩
胡以誠
Hu Yi-Cheng
Keywords: 自然
當代水墨畫
時代性
都市
寫生
Nature
contemporary ink painting
temporality
urbanity
sketching
Issue Date: 2010
Abstract: 作為一篇個人的創作論述,本文架構分為兩個部分,文中第二、三章闡述個人創作的思想淵源,第四、五章則偏重於個人作品形式內容的表述。 第一章緒論,主要敘述個人撰寫本文的出發點與基本立場,包括了研究源起、研究範圍與方法、文獻探討以及文中重要名詞的解釋。當新世代水墨創作者展現了突破傳統的企圖之時,筆者仍堅持著寫景、寫生的創作路線,因此本文的申論重心,即強調著寫生、自然審美等價值於當代水墨創作中仍具意義。此一立場的設定將作為全文研究的基礎。 第二章,主要是藉由「時代性」的提出,探討兩個影響筆者水墨創作思考的關鍵議題,也就是「寫生」與「都市」。20世紀以來,由於對西法的吸收與社會文化所營造的氛圍,在「回歸現實」的藝術思想之下,促進了寫生的復興。同理,對現實「順承性的反映」之下,都市與水墨的連結有呈現時代的積極意義,不少當代水墨畫家正視都市與水墨畫的連結,表現都市景觀、都市人物的生活與心理狀態,更不乏對大眾消費文化的批判與挪用,對時代的鮮明景象作出回應。 第三章,針對前一章水墨連結當代都市文明的意識提出相異的觀點,從當代思潮對自然的回歸與水墨畫傳統本身,推導自然審美在水墨創作中的價值,並以當代水墨畫於自然題材表現的若干特質來闡述其異於傳統的部分;例如生態危機之下的環境關懷與批判意識,形式表現則呈現繁密、深沉、厚重的特質,表露出屬於當下的時代氛圍。 第四章,即進入了明確的形式表現部分,包括了個人寫生的觀念與方法、選材、構圖與筆墨特質等說明。有關個人寫生的堅持回應於第三章「自然審美」的價值,而選材、構圖與筆墨特質,則歸於當代水墨「沉鬱厚重」的脈絡之下,回應了部分的「時代性」表述。 第五章的主要內容在於闡述個人於作品之中所象徵的時代意象。在第四章所敘述個人創作中的特定題材、形式表現特質,均在本章的論述中進一步解釋其象徵涵意,也就是「受迫的人與自然」;不論是較客觀的實景寫生,還是較多主觀融入的想像世界,透過造化的啟發、傳統與當代環境的感染,創發為個人的藝術心源,意圖形塑出一個厚重、綿密、殘缺的景境,呈現個人所體認的時代狀況。 本章具體地回應了緒論所提出的議題,也就是重視自然與寫生的創作如何展現出時代性。 第六章結論,為本文的重點內容作前後貫通的整理。
This thesis on the personal creative works consists of two parts: the first part delineates the context of the author’s creative thinking; the second part describes and analyzes the form and content of the author’s works of ink painting. The first chapter serves as the introduction to the entire thesis. Here the author describes the starting point and the fundamentals of this thesis, discusses the origin, the range, and the methodology of this research, and explains the important terms and concepts of this thesis. While the new generation of ink painters show their will to break from the artistic tradition, the author persists in focusing on sketching and landscape painting. It is therefore essential for this thesis to establish the value of sketching and aesthetic appreciation of nature in the creation of modern ink painting. This is the base of the whole research. The second chapter proposes the concept of “temporality” and analyzes the two key issues that influence the author’s ink painting creation, namely “sketching” and “urbanity.” Even since the 20th century, due to the absorption of the Western culture and the consequent atmosphere of society and culture, the artistic thoughts of “returning to reality” have brought about the revival of sketching. In the same vein, the “positive reflection” of reality leads to a positive correlation between city and ink painting. Several contemporary ink painters focus on this correlation, trying to express the urban landscape and to portray the lives and minds of city dwellers. Some even go further into the critique and the appropriation of consumerism as a response to their own era. Against this trend to link the urban culture to the works of ink painting, the third chapter tries to present a different viewpoint. From the contemporary thoughts, the thesis proposes a return to nature and to the tradition of ink painting, characterizes the appreciation of nature and its value in ink painting, and elucidates how contemporary ink painting depicts nature and its differences from their traditional counterparts. The contemporary atmosphere emanating from ink painting includes the care and worry of natural environment under the ecological disasters, the formal characters being that of thickness, heaviness, and solemnness. From theoretical reflection, the fourth chapter moves on to the practical expression of form. Here the author describes the concept and method of sketching, choice of material, composition, and characters of different inks and brushes. The author’s persistence in sketching is a response to the value of appreciation of nature characterized in the third chapter. The choice of material, composition, and ink and brushes refer back to the context of contemporary ink painting and serve as an answer to the discourse of “temporality.” The fifth chapter expounds the images of time symbolized in the author’s ink painting works. This chapter also continues the discussion of material and formal expression in the fourth chapter. The fundamental symbolic meaning is the “oppressed mankind and nature.” From the subjective sketching of real scenes to the more personal depiction of imaginary world, this symbolic thought, inspired by nature, tradition, and contemporary environment, evolves into a personal source of art and attempts to portray a thick, heavy, and incomplete scenery as a personal understanding of the era. This chapter responds to the issues raised by the introduction, namely how works that emphasize nature and sketching can reflect its time. The sixth chapter summarizes the thesis and highlights the key issues.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0893600104%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115565
Other Identifiers: GN0893600104
Appears in Collections:學位論文

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