Please use this identifier to cite or link to this item: http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115612
Title: 廖繼春畫面張力之形式探討---新航記創作研究
A Study on the Creation of New Journey through Analyzing the Forms of Tension in Chi-Chun Liao's Paintings
Authors: 蘇憲法
Hsien-Fa Su
蔡勝全
Tsai Sheng-Chuan
Keywords: 張力
藝術形式
構圖
廖繼春
新航記
tension
artistic forms
composition
Chi-Chun Liao
New Journey
Issue Date: 2013
Abstract: 本研究旨在探討畫面張力強的繪畫形式因素與繪畫表現之關係,期能拓展自我創作於張力表現之格局,包含理論研究與作品創作兩大面向。理論研究部分,以「畫面張力強之繪畫形式探討」為主軸,取樣「廖繼春畫作」為分析對象,探討畫面張力強與繪畫形式表現之間的關係,並能增進對廖繼春繪畫之內涵與瞭解。並獲致以下結論: 一、從文獻之探討歸納出6項張力的特質釋義。 二、廖繼春的繪畫具有野獸派繪畫特質和野獸主義、表現主義和抽象表現主義交融的繪畫特質,這些繪畫特質與張力具有諸多相關性,印證了廖繼春之繪畫明顯蘊含著張力的潛質,提供後人對廖繼春繪畫作品之另種面向認知。 三、獲得廖繼春張力強畫作之繪畫形式與張力性質特性之研究結果。 作品創作部分,研究者以「漁船」題材貫穿整體作品,藉由漁船所觸發於生活上的種種感知,試圖表達出超越自己、有別於他人的面貌,並將整體畫作主題命名為「新航記」。在作品創作與張力表現的運用上,獲得以下效益: 一、深化作品之內容涵義:以「個人藝術創作之認知範疇」及「個人藝術創作的目的」之理念為宗向,竭盡所能,盡力為之,增進了研究者的作品內涵。 二、提升繪畫之張力表現:以文獻探討中對張力之6項歸納定義特質為範疇,依每一作品之個性,適當承用之。並酌請5位張力強、中、弱的分類員,檢驗研究者作品之張力表現,且獲得一些張力表現成效。 三、增益作品之形式運用:借鏡廖繼春畫作張力強的繪畫形式之歸納總結,取法部分應用,增益自身之創作。
A Study on the Creation of New Journey through Analyzing the Forms of Tension in Chi-Chun Liao's Paintings Abstract The research investigates the relationship between the formal factors of high tension in painting and the articulation of painting, with the expectation to expand the scale of the expression of tension in my work. The investigation consists of both theoretical exploration and artistic creation. The theoretical part has as its axis “the analysis of the forms of high tension” and works through the paintings of Chi-Chun Liao. This part examines the relationship between the forms of high tension and the formal articulation of painting and advances appreciation and understanding of Chi-Chun Liao’s paintings. The following is the conclusion: First, six definitions of tension have been summed up from literature review. Second, Chi-Chun Liao’s paintings demonstrate the features of Fauvism and the characteristics out of the fusion of Fauvism, Expressionism, and Abstract Expressionism. The qualities of these paintings have inherent connection with tension, confirming the fact that Liao’s painting obviously contains the potentiality of tension, which will offer an alternative approach toward Liao’s works of art. Third, this research will yield the conclusion of the analysis of the painting styleand high tension in Liao’s paintings. In the part of artistic creation, the theme of the “fishing boat” threads through the oeuvre. I attempt to demonstrate a different picture beyond my previous achievement and distinct from other’s style through the varying perceptions in life triggered by the fishing boat. The thematized oeuvre is titled “New Journey.” The following is the outcome in terms of the employment of artistic creation and the articulation of tension: First, the heightening of the meaning of the work: The two concepts of “the cognitive domain of personal artistic creation” and “the goal of personal artistic creation” have been adopted as my principle and aim to enrich the meaning of my works of art through utmost effort and inexhaustible will. Second, the advancement of articulation of tension in painting: The six definitions of tension from literature review have been appropriately employed on different works of art by taking into consideration each of the works’ unique characteristics. The help of five people to classify high, medium, and low tension was elicited to examine the performance of tension in my works of art, and some results of performance of tension have been achieved. Three, the improvement of formal application in my works of art: The conclusion obtained from the analysis of the forms of high tension in Liao’s paintings will help to elevate my works of art.
URI: http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0896600208%22.&
http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115612
Other Identifiers: GN0896600208
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