Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115611
Title: 汲古萃今─文人品味中的審美意識
Absorb Anciently and Assemble for Today - Aesthetic Consciousness in the Scholars’ taste
Authors: 袁金塔
李振明
陳坤德
Keywords: 文人品味
符碼
擬像
意向性
斑馬
Scholars’ taste
Code
Simulation
Intentionalität
Zebra
Issue Date: 2012
Abstract: 本文以「汲古萃今」作為研究的軸心。並選擇明代中期至晚明階段的文人文化品味中的審美意識來探究,透過古籍資料的閱讀、作品圖像的探索與文人生活的體會為切入點,並汲取古人的意念與時代氛圍下的品味為要。此外並將當代意識中強調圖像與個人風格的觀念納入其中,因此在個人創作上,將「汲古」視為一個途徑,再加入個人的意念與斑馬圖像,形成錯置的場域來呈現其美感狀態。 全文分為七個章節來論述:第一章緒論,包括研究動機與目的、研究範圍與方法、研究步驟結構示意圖、名詞釋義與文獻探討。從當代水墨現象的觀察到文獻閱讀後的印證與理解中,試著提出汲古萃今路線的可行性,並且從水墨本質的探索中,發現文化品味的重要,進而思索個人表現的可能性。第二章,品味的熔鑄與文化書寫:主要以文人品味的主體性來突顯其作為水墨創作現象所產生的問題,並且論及文人閒雅生活和作品之間的美感關係。第三章,水墨表現的場域:觀察當代水墨在符碼化之後的現象,以凸顯水墨表現向度之間所形成的藩籬結果,並且反思在水墨變革中所擱置的本質問題,進一步呼籲應當重視水墨中品味與文化之間的關係。 從第四到第六章的部份,經由前三章從文人品味梳理考察、水墨文化本質的探討結果,轉進個人創作理論的意圖與創作實踐。第四章汲古萃今的創作意涵:從汲古的路線之中,探索圖像、題畫詩、文化品味、文本之間的時代變革與限制,並且關注水墨表現中任意指稱的擬真關係與內涵。第五章,創作本源與詮釋:回歸到個人的創作意向與中心思想,透過考察近現代文人風格實踐的狀態,來檢視個人創作所涉及的內涵與意義,進而詮釋水墨中文人形像、閒賞文化的美學特質。第六章,圖版論析與軌跡:在創作議題內涵上,指向賞玩文化、文人形像、汲古成今等三個類目以具體呈現成果。另外在作品解析方面,粗分為二個部份來陳述﹔第一是作品身份,品名、款識、鈐印等;第二是直指作品的思想與成其為作品的緣由和圖像簡述等。 第七章,結論:文人形象與議題的關注,是個人作品的特質,在考察水墨文化高度與品味的過程中,重申水墨意識與美學修為是詮釋水墨文化底蘊不可或缺的一環。
The core of this study is to “Absorb Anciently and Assemble for Today,” absorbing the ancient and incorporating into the present. The scholars’ aesthetic consciousness in the culture of middle and late periods of Ming Dynasty was studied through reading ancient book materials, exploring their works and pictures, experiencing their living, and learning the ancient’s ideas and tastes in such era. Moreover, the ancient concepts on pictures and personal style are included in my personal creation, which regards “absorbing the ancient” as a passage. The personal conceptions and zebra's picture are also added to build a reversed domain so as to demonstrate its beauty. There are seven chapters in this study. Chapter one- Introduction: It includes research motive, purpose, range, method, structure, definitions and references. With the observation of contemporary ink painting and understanding of references, the feasibility of “Ji-Gu-Tsuei-Chin” was being found. Through exploring the essence of ink painting, the importance of culture taste was discovered so as to ponder on the possibility of personal performance. Chapter Two- Taste Dissolution and Culture Description: The entity of scholars’ taste is used to outstand the problems of creating ink painting. The aesthetic relationship between scholars’ refined life and their works is also discussed. Chapter Three- The Display Domain of Ink Painting: The phenomenon, after ink painting was symbolized and coded, was observed. The purposes are to show the barriers created by ink painting display dimensions, to reflect the essence problem on ink painting reform, and to appeal the attention on the relationship between their tastes and culture. From Chapter Four to Chapter Six, after the observation of scholars’ tastes and the exploration on the essence of ink painting culture in the former three chapters, my personal intentions on creation theories are brought in and put into practice. Chapter Four- Creation Intention on “Absorb Anciently and Assemble for Today”: On the passage of absorbing the past, pictures, painting poem, culture tastes, and era reform and restriction on texts are explored. The so-called simulation relationship and intension on ink painting are also drawn attention. Chapter Five- The Origin and Interpretation of Creation: Returning to the personal creation intention and central mind, this chapter investigates personal intension and meaning on creation through observing the practice of modern scholars’ styles so as to interpret ate the aesthetic specialty of scholars’ images and casual culture on ink painting. Chapter Six, The Analysis on Pictures and Tracks: On creation topics, the three items of culture, scholars and “Ji-Gu-Tsuei-Chin” are used to demonstrate the results. On the analysis of works, the description is divided into two parts: one is by work identity, name or title, inscriptions, seal etc., the other is by the thought, the origins and image description of creation works. Chapter Seven- Conclusion: The attention on scholars’ images and concern of topics is the characteristic of my personal works. While observing the culture and taste of ink painting, it is very important to reclaim that ink painting consciousness and aesthetics behaviors are indispensable for annotating cultural implications on ink painting.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0896600181%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115611
Other Identifiers: GN0896600181
Appears in Collections:學位論文

Files in This Item:
File SizeFormat 
n089660018101.pdf8.59 MBAdobe PDFView/Open


Items in DSpace are protected by copyright, with all rights reserved, unless otherwise indicated.