碧海行旅：柯驎晏的臺灣山水當代實踐

Abstract

本論文以「地方」為出發點，欲以文化地理學的角度探討「臺灣」在藝術史的脈絡中，是如何從一個客觀的地理空間被形塑為今日的文化地方，並審視筆者個人創作時應如何思考對地景的想像。本文共分為六章：第一章先說明為了回應自身創作，透過釐清相關理論和藝術史發展以闡述本文的研究動機，再對研究方法、範圍和使用名詞做了說明及解釋。第二章接著論述學理依據的部分，本段先用文化地理學的視角討論「空間」與「地方」的差異，並進一步解釋「地方」與「非地方」在當代社會進入了交織混融的複雜狀態，再來藉由上述觀念梳理「臺灣本土思維」在臺灣藝術史中之延展，援引代表性的藝術家介紹臺灣藝術從清領時期發展至當代多元的藝術面貌。第三章藉由貢布里希（E.H. Gombrich, 1909-2001）的圖像學研究及形式分析的成果，說明風格及文化養成背景，對於藝術家在創作上的影響。筆者之創作立基於山水畫形式，透過方聞對山水畫空間處理方式的分析，以及爬梳山水的三個空間發展時期，試著理解山水圖式成型的邏輯。第四章以自身創作方法為探討對象，討論創作實踐的過程和皴法的當代意義。第五章，以筆者的作品論述實踐，在地理風土及文化意象上結合臺灣土地意識的創作進程，分為四個系列：實景山水、海景文化意象、海洋休閒活動及生物多樣性，試著以自身發展之「海苔皴」技法描繪出契合臺灣土地的繪畫圖式。第六章結論整合以上論述，闡述未來創作發展的其他可能性及展望。This thesis takes"place" as its starting point, aiming to explore from the perspective of cultural geography how "Taiwan" has been shaped from an objective geographical space into today's cultural place within the context of art history. It also examines how the author should contemplate the imagination of landscape in personal creation. The thesis is divided into six chapters: The first chapter explains the research motivation through clarifying relevant theories and the development of art history to respond tothe author's own creation. It also describes and explains the research methods, scope, and terminology used. The second chapter discusses the theoretical basis, first examining the differences between "space" and "place" from the perspective of cultural geography. It further explains the complex intertwined state of "place" and "non-place" in contemporary society. It then reviews the extension of "Taiwanese local thinking" in Taiwanese art history and introduces representative artists to depictthe diverse artistic landscape from the Qing Dynasty to contemporary times.The third chapter uses Gombrich's (1909-2001) iconographic research and formal analysis to explain the influence of style and cultural background on artists' creation. The author's work is based on the form of landscape painting. By analyzing Fang Wen's spatial handling in landscape painting and reviewing the three developmental stages of landscape space, the author attempts to understand the logic of the formation of landscape patterns. The fourth chapter explores the author's creative methods, discussing the process of creative practice and the contemporary significance of the brushstroke technique.The fifth chapter discusses the practice of the author's works, combining the geographic and cultural imagery of Taiwan's land consciousness in the creative process. It is divided into four series: real scene landscapes, sea culture imagery, marine leisure activities, and biodiversity. The author attempts to depict a painting pattern that fits the land of Taiwan through the self-developed "nori brushstroke" technique. The sixth chapter concludes by integrating the above discussions and elaborating on other possibilities and prospects for future creative development.