筆墨大嵙崁 - 彩繪大嵙崁溪之創作理念與技法實務之探討 Dakekan in Painting

dc.contributor 王友俊 zh_TW
dc.contributor.author 黃哲夫 zh_TW
dc.date.accessioned 2020-12-10T03:41:45Z
dc.date.available 2007-7-20
dc.date.available 2020-12-10T03:41:45Z
dc.date.issued 2007
dc.description.abstract 對大溪的靈山秀水—情有獨鍾。走過大溪的老街、古厝、寺廟、古道…歷史所刻劃下的痕跡,縱然時光荏苒、滄桑今昔,舊情、舊景,明示了過去時空的真實存在,註1坎津八景依舊坾立著,腑視母親的哀吟,裸露的磐石,禪定於河床中,告訴我這是咱的家鄉。遠遊的溪哥,激發出哀樂的感嘆。我從遠處回來,重溫魂牽夢縈的這塊芳土─大溪小鎮。我愛〝她〞甚於一輩子都不願離開她懷抱的鄉親們。註2 遊子們對家鄉的感情澎湃,思緒起伏憶起家鄉的往昔,子民們對自己身為大溪人都有一股驕傲感,因為她賜予太多、太多的明山秀水、優渥的人文環境,而面對著現實母親的傷痕累累,沉默的在呻吟,難免失落,絕望的情思湧上溪哥們的心頭,大嵙崁的歷史值得回顧、宣揚,大嵙崁溪的現況則要用心關照研究 ,已為延續母親的慈暉永在,繼續不斷的呵護子民們。 本論文研究探討是以大嵙崁溪流域為主軸,並藉此來參透家鄉的地理環境及人文歷史,以為「筆墨大嵙崁」的藝術創作更能彰顯其精神,及個人在水墨創作上走出一個新的里程,以下茲將論文的架構分述之: 第一章:緒論為研究動機、目的、方法、內容,來說明大科崁的現況,如何以創作來喚醒人們對自然景觀和環境保護的重要性。 第二章:歷代溪石、山岩畫法探討,從中國古代唐宋以至明清、現代、台灣、大陸的畫家各在不同的本位創作的經驗,以為吾人對現代水墨溪石、山岩之認識。 第三章:大科崁溪的過去、現在與未來。 從淡水河及其支流,現況及其演變,從歷史、地理、地質…等研究,旨在探索家鄉河流緣起的特色及現實的衝擊中回歸人文關懷的發源點。 第四章:彩繪大科崁溪技法實務之探討。 以地理河段位置,分做研究寫生探討之程序,藝術家們從各種不同的媒材、方法來探討如何藝術創作。 第五章:創作理念與作品解析。 說明創作原由和表現形式。 第六章:結論。 借由創作的思想及經驗說明如何檢討過去、以策將來。 zh_TW
dc.description.abstract I adore spiritual mountains and clear water in Dasi Township. Walking alongside on the old cobble streets, traditional houses, temple, you can feel something around you. The vivid memories of the history, yes, that’s historical atmosphere. As time flies away, reduced water level let the riverbed exposed. Although something changed, The Gorgeous “Dakekan 8 views” are standing still. This is my spiritual home, Dasi Township. I love “her” more than people who live here without leaving home in their entire life. While away from Dasi, I feel “her” is always in my mind. People are proud of being part of Dasi Township because of what she gives such as gorgeous sceneries, enriched cultural environment. Because of the over construction in the last decade, you can feel she is crying silently from the moan of the wind around Dasi. From time to time, desperate feeling came up to my mind due to the changes. The history of the Dasi is worthy to be reviewed and propagated, but we need to make more efforts to let Dasi to be remainedthe same as what she was. This will give our posterity an opportunity to understand the real Dasi. The focus of the research is to explore issues related to the geography art and history around the Dasi River. The aim of “Dakekan in Painting” is to achieve another milestone on painting and calligraphy for myself by completing this research. Following is the brief introduction of each chapter. Chapter 1. To introduce the importance of protecting our environment by describing the current condition of Dasi township. This includes the inspiration and purpose of the research and the painting methodology. Chapter 2. To explore different perspective from ancient painters from Tang dynasty to Chin Dynasty and present painters in Taiwan and Mainland China. Chapter 3. The past, the present and the future of the Dasi River. Chapter 4. Methodology in “Dasi in Painting” Chapter 5. The perspective and the analysis of my work. en_US
dc.description.sponsorship 美術學系 zh_TW
dc.identifier GN0093603120
dc.identifier.uri http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0093603120%22.&
dc.identifier.uri http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114855
dc.language 中文
dc.subject 大嵙崁溪 zh_TW
dc.subject 大溪 zh_TW
dc.subject 水墨 zh_TW
dc.subject 溪石 zh_TW
dc.subject 白石山 zh_TW
dc.subject Painting en_US
dc.subject Calligraphy en_US
dc.subject Dakekan en_US
dc.subject Dasi en_US
dc.title 筆墨大嵙崁 - 彩繪大嵙崁溪之創作理念與技法實務之探討 zh_TW
dc.title Dakekan in Painting en_US
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