Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115608
Title: 飄流-高永隆現代重彩創作論述
Going Adrift—The Creative Discourse onKao Yung Lung's Heavy-Color Paintings
Authors: 林昌德
詹前裕
Lin Chang-De
Chan Chien-Yu
高永隆
Kao Yung -Lung
Keywords: 現代重彩
膠彩畫
岩彩畫
礦物顏料
飄流系列
Modern heavy-color painting
glue painting
mineral-color painting
mineral paint
drift collection
Issue Date: 2012
Abstract: 中國繪畫對於色彩、顏料的使用表現,從早期簡單的天然礦物性顏料到植物性顏料的加入,產生了金碧、青綠的重彩繪畫。而當中國畫的色彩表現達到高峯時,也出現了反省與反對的思想,轉而強調色彩的哲學精神層面表現。近代中國畫受到西方繪畫的傳入影響,在淡薄與黑白為主的水墨畫中,開始有了外來明亮鮮豔以及民間豐富的裝飾色彩出現。進入民國以後,對於傳統中國畫色彩表現的改良更是積極。 在現代中國畫色彩的反省改革中,又再度被注意到,並以新的形式被呈現出來。尤其現代日本畫的媒材與風格,提供了現代重彩充分的經驗及發展的可能性,出現了台灣的膠彩畫、大陸的重彩畫與岩彩畫三個畫種名詞,三者的興起背景、理念的異同、發展現況、作品風格走向,成了新興的研究議題。 膠彩、岩彩仍是個新興的畫種名詞,加上其興起的背景複雜的原因,雖有許多的爭議與批評,但近年來發展快速,說明了現代重彩存在的價值及未來發展性可能性。 現代重彩在繼承傳統的基礎上,大量的吸收了現代藝術的多元表現方式,充滿了實驗性與開創性,希望為現代中國畫開拓出新的表現空間。個人在繪畫創作上,從傳統水墨畫轉而投入傳統重彩的研究,進而從事現代重彩的創作。在走向現代與回歸傳統的道路上,面對傳統與現代、本土與國際、新與舊的問題,透過歷史的追溯,或許是一條解決之道,但創作的本身才是問題的根本。 本文探討傳統重彩到現代重彩的歷史發展與演變,現代重彩興起原因背景、面臨的困境與爭論、現代重彩的創作理念與風格的趨向。繪畫創作最實際的問題就是材料的選擇與操作,重彩畫主要媒材是礦物顏料與動植物的膠,特別強調對表現媒材的操作與媒材特性的呈現。透對重彩畫的繪製材料工具、製作過程步驟,表現技法,以求對重彩畫的有較完整深入的了解。進而探討個人「飄流系列」創作精神理念媒析表現技法形式,「飄流系列」個別作品,及其在現代重彩畫中的風格特色,以尋求個人在現代重彩創作上的突破,肯定個人重彩創作的藝術價值。
The painting techniques and expression through color in Chinese paintings have evolved for centuries. Initially, the paint was made from natural mineral pigments. Later, herbal pigments were also used. Together they helped create the genre of bright green and blue-green heavy-color paintings. As the expression through color reached its height, it also spurred the development of new ideas and styles of Chinese paintings. The new trends reflected upon or even resisted the prevailing style, and focused on the color’s potential to reflect philosophical and metaphysical concepts. In the following centuries, traditional Chinese paintings mainly consisted of light colors and gradations of black ink. The introduction of Western paintings to China in the 19th century also enriched the expressions of Chinese paintings. Bright and saturated colors found in Western paintings and Chinese folk decorations were integrated. Since the 1910s, Chinese painting artists have been enthusiastic in improving the expression through color. Even though each school—the traditional school, the eclectic school, the Western school and the reformist school—has their own theories and approaches to reform Chinese painting, they share the same aspiration in the expression through color. Innovations and breakthroughs of color in Chinese painting have continued until this day. Modern heavy-color painting is the last among waves of color reform in the history of modern Chinese painting. Heavy-color painting was once categorized as the Northern School or the Academic Painting. But when literati paintings began to flourish and later dominated the Chinese art scene, heavy-color painting was marginalized. Modern Chinese painting reform, which also focused on the use of color, gave heavy-color painting new forms. The style, medium and history of modern Japanese painting also enriched and created new possibilities for modern heavy-color painting. The frequent exchange between China and Japan has galvanized the development of such genre, resulted in creating three terms to describe the same genre: glue painting in Taiwan, and heavy-color painting or mineral painting in China. The different origins, concepts, courses of development and styles represented by these three terms have become new topics for research. Modern heavy-color painting gained popularity in both Taiwan and China almost simultaneously. It is not a mere coincidence, however, but an inevitable development. Its revival represents the reflection and reactionary movement against mainstream Chinese painting. Spiritually, it is a reengineering process that fuses globalization with the old traditions. In its form, the revival could complement the lack of color that has long characterized Chinese painting. Glue painting and mineral-color painting are still terms used to describe a new genre. Their origins and complicated history have drawn much controversies and criticisms. However, the rapid development of modern heavy-color painting in recent years reaffirms the value of such genre and its huge developmental potential. Stemming from traditional roots, modern heavy-color painting has incorporated a wide range of techniques and expressions commonly used in modern art, as many artists of this genre are bold in experimenting and exploring new possibilities for Chinese painting. Traditional Chinese painting was the starting point of my personal creative experience. But I later shifted my focus to the research in heavy-color painting, and I have committed myself to creating such works ever since. When faced with dilemmas of how to create a new work—whether to follow the old traditions or to seek new paths, to preserve one’s own cultural heritage or to sway with the tide of globalization, one can always look back in history and gain some refreshing insights. Yet, what really matters is the creative work itself. The most fundamental issue an artist must answer is what medium to choose and how to apply it. Mineral pigments, animal and herbal glues are essential for heavy-color painting. By analyzing and comparing the painting equipments, the painting techniques and forms of expression, I hope to gain a comprehensive understanding of heavy-color painting.
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