當代寫實繪畫實驗- 草莓族系列之創作研究 Contemporary Realistic Painting Experiment- Strawberry Genaeration Series

dc.contributor 蘇憲法 zh_TW
dc.contributor Su Xian Fa en_US
dc.contributor.author 羅展鵬 zh_TW
dc.contributor.author Lo Chan Peng en_US
dc.date.accessioned 2020-12-10T05:18:14Z
dc.date.available 2012-8-21
dc.date.available 2020-12-10T05:18:14Z
dc.date.issued 2009
dc.description.abstract 摘要 藝術創作與時代、歷史與人文精神無法分開,由於台灣的地緣、政治、歷史以及其文化環境十分特殊,由於歷史的總總巧合而使的台灣現今在全球化的浪潮之下,有著十分特殊的現象,政治上,有著與中國密不可分的曖昧關係,文化上則有全球的文化特色,使的許多年輕族群在服飾上、語言上甚至是思維邏輯上都有其獨特之處,更由於八0年代後出生的年輕族群,因為遠離了二次大戰的經驗,與台灣戒嚴後的體驗,而有了與前世代相當程度的差距,更由於網路,數位科技為主的台灣產業,台灣年輕族群在吸收資訊上也達到相檔程度的影響,這些現象均使得八0年代的台灣人被稱為”草莓族”,本論文即是在探討台灣當代社會下,草莓族們的各種樣貌以及背後的焦慮感並且闡述數位科技如何影響台灣新世代的年輕畫者。 筆者本身即是上述所歸類的族群”草莓族”,也經歷過戒嚴後的台灣經濟起飛與政治寬鬆的時期,也與許多年輕人一樣,徘徊夜店,享受午夜時光,也迷戀網路與3C產品,但身為藝術工作者,勢必會對整個時代的特質敏感,筆者關切著自身以及周遭的文化現象,意圖去理解草莓族們對於台灣的政治、經濟以及時尚文化等等的觀感。   本論文的重點共分六張,謹摘要如下: 第一章:緒論───說明創作動機與目的,將台灣的特殊氛圍作一簡介,並且介紹如何將其導入筆者的創作理念,透過草莓族的華麗外表談論政治、歷史以及文化。 第二章:創作理論基礎───透過歷史中繪畫的派別,去談論關於寫實藝術的概括,並且釐清歷史中寫實藝術如何在回歸寫實與背離寫實,談到攝影術的發明對於寫實繪畫的影響,以七0年代為分水嶺。 第三章:創作理念───透過數位影像的發展,筆者闡述如何將其影響導入創作,並且解析當代年輕族群由於大量接觸3C電子產品,而產生了相異於以往的觀看模式。 第四章:創作形式、內容、媒材與技法───探討草莓族的定義,並且試圖挖掘其背後更為深入的可能性,筆者以恐怖電影的發展為導入的可能,探討著恐怖電影所暗喻著當代社會的焦慮感,將其作為草莓族系列作品的創作元素。並介紹筆者如何運用數位科技來進行創作,探討繪畫的可能性。 第五章:作品解說與分析 第六章:結論───欲透過本創作,持續對台灣藝術及台灣社會進行更為深入的討論,並且秉持著入世的態度,關懷自我生長的環境、提升心靈成長。 zh_TW
dc.description.abstract Abstract Art is inseparable with times, history, and humanity. Taiwan’s geography, politics, history, and cultural environment are extremely unique, along with the impact of globalization, resulting in distinctive phenomena in Taiwan. Politically, Taiwan has an ambiguous relationship with China. Culturally, Taiwan is influenced by cultures all over the world—Taiwan’s young people have a unique sense of fashion, language, and logic, especially the generation born after 1980. The people from this generation have no recollections of World War II or of Taiwan’s martial law period, resulting in a huge gap between them and the older generations. Taiwan’s focus on the Internet and digital technology has also affected the way the younger generations receive information. These phenomena are the reasons why people born after 1980 are called the “Strawberry Generation.” My dissertation focuses on this generation, its different faces and anxieties, and how digital technology affects young Taiwanese painters. I myself fall into the category of the Strawberry Generation, and have been through Taiwan’s economic boom after the martial law period, and the political freedom that came with it. Like many people my age, I have been a regular club goer, enjoying the nightlife, obsessed with the Internet, and computer, communication, and consumer electronic goods, the so-called 3C products. As an artist, however, I am particularly sensitive to our times. I am deeply concerned with the cultural surroundings around me and others, trying to understand the perspectives of the Strawberry Generation in regards to Taiwan’s politics, economy, and fashion culture. This dissertation is divided into six chapters, each as follows: Chapter One, Introduction: Explanation of my motivation and objective. Brief introduction of Taiwan’s unique environment, and how this environment influences my artistic vision, and a discussion of politics, history, and culture through the flamboyant appearance of the Strawberry Generation. Chapter Two, Foundation of Art Theories Applied in My Work A discussion of Realism through different schools in the painting history, how Realism returns to its roots and how it abandons them, and how photography affects Realism painting, with the 70s as a watershed. Chapter Three, My Artistic Vision A discussion of the development of digital technology, how it influences my work, and an analysis of how 3C products have changed the young generation’s perspective that is entirely different than that of their predecessors. Chapter Four, Form, Content, Mediums, and Techniques The definition of the Strawberry Generation, a discussion of the possible existence of depth in the Strawberry Generation. With horror movies as a lead, I explore how these movies are symbolic of contemporary society’s anxieties, which inspire the Strawberry Generation series. A discussion of how I utilize digital technology in my work, and try to discover more possibilities in painting. Chapter Five, Analysis of My Work Chapter Six, Conclusion A discussion of how, via my work, I investigate on deeper levels Taiwan’s art scene and society, how I care about the environment where I grew up with a worldly attitude, and work toward self-elevation. en_US
dc.description.sponsorship 美術學系 zh_TW
dc.identifier GN0695600356
dc.identifier.uri http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0695600356%22.&
dc.identifier.uri http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115342
dc.language 中文
dc.subject 草莓族 zh_TW
dc.subject 數位科技 zh_TW
dc.subject 政治 zh_TW
dc.subject 時尚文化 zh_TW
dc.subject strawberry generation en_US
dc.subject digital technology en_US
dc.subject politics en_US
dc.subject fashion culture en_US
dc.title 當代寫實繪畫實驗- 草莓族系列之創作研究 zh_TW
dc.title Contemporary Realistic Painting Experiment- Strawberry Genaeration Series en_US
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