天光閑影共徘徊--陳倩芳水墨創作與研究

Abstract

本研究從觀察水中倒影所呈現的景象出發，探討宇宙萬事萬物相對的關係。從常中求其變，從變中求其常；從虛中現實，從實中現虛，以顯現虛實之間的不同與呼應。試圖留住倒影虛幻的那片刻，並藉之表現心境。創作採自然寫生方式，以水為介質，闡述中國水墨畫中虛實相生的獨特性。

以畫論為基礎，並從老莊思想美學中「虛實、意境」的論點來探討主題。嘗試以繪畫理論，來詮釋自然景物的倒影如何化轉化成藝術作品的可能，及畫家如何經營畫面虛空的部分，營造看似平凡但卻令人折服的美感。將所研究的結果加以歸納，運用在自我的創作上。創作主題選擇台灣山林景色，沈浸其間，並努力以純粹而率真態度畫出我心景色。

研究論述主要架構包括：（一）倒影虛實的理念探討（二）倒影在東西方藝術家的表現與意涵（三）創作理念（四）作品分析四大部分。本研究範圍從2007年至2010年間以寫生倒影意象為主要的延伸作品，透過創作實踐並結合理論分析，來做為創作的目標。The thesis,starting by observing water reflection, addresses the corresponding relations in the universe. To demonstrate the distinction and agreement beween substance and emptiness, variety is added to constancy and the other way around; substance reveals in emptiness and the other way around. To present the state of mind,an attempt is made to hold the moment of illusion created through reflection. To present the uniqueness of the interplay between substance and emptiness in Chinese ink painting, the skills of outdoor scatching is adopted with water as a medium.

Based on painting theories, the subject will be addressed from the aethetic perspective of Zhuang Zhi’s “Emptiness and Substance, Artistic Conception”.An attempt is made to interpret the likelihood of transforming the reflections in nature into the works of art and the way painters cope with the empty part of his painting to create the beauty seemingly looking plain but admirable. The induction from the result of my research is applied to my creation. My creation features the landscapes in Taiwan, where I immerse myself, trying to depict the scenery in my mind.

The famework of my thesis is divided into four parts(1)the exploration of the substance and emptiness in reflections,(2)Eastern and Western artistists’ways to present reflections and their connotations,(3)the conception, (4)the analysis of works. My research involves derivative works (from 2007 to 2010) featuring reflection sketching. The objective of the creation is to combine theoretical analyses and put the theory into practice.