《重線》工筆仕女畫白描複合媒材創作論述

dc.contributor張晏榕zh_TW
dc.contributorChang, Yen-Jungen_US
dc.contributor.author孫佳麒zh_TW
dc.contributor.authorSun, Chia-Chien_US
dc.date.accessioned2019-09-04T08:42:19Z
dc.date.available2018-08-12
dc.date.available2019-09-04T08:42:19Z
dc.date.issued2018
dc.description.abstract創作者國小至研究所繪畫歷程中,自小對於工筆人物畫—仕女即有強烈興趣與感興,能以此察覺自身的存在感,故意象抽離現實的禁錮嚮往一番世外桃源。本創作主要自工筆白描、當代複合媒材以及印後加工轉印技術與媒材要素切入,以美學與藝術思維探索創作本質,闡述並探究創作者之創作歷程,最終反思與討論傳統性文藝與創新,希冀此創作歷程能使相關閱聽人有所啟發,並以當代蔡嵐、溫書強、金大鈞作為臨摹對象,以及對於古時宋徽宗摹張萱〈搗練圖〉,重新描繪與詮釋,進一步與系上技術結合與創新,體悟線條與自我的關係,以《重線》雙關「重現」,為再現之意。並於民國107年5月16至5月29日期間之國立臺灣師範大學圖書總館一樓大廳,舉辦「現代網『點』與仕女重『線』-創作成果聯展」。本創作論述提出四個創作問題,分別為:(一) 創作者於民國106年赴中國學習理論之藝術學、美學、中國書法藝術美學之過程,對創作之啟發及影響為何?(二) 以傳統工筆白描、當代複合媒材與印後加工轉印技術所呈現之摩擦為何?(三) 創作者於創作期間的心理變化與自我對話為何?(四) 創作者於國立臺灣師範大學圖書總館之展覽成果及閱聽者回饋與反應為何?因此本創作論述欲針對自身創作實踐。成果於作品系列、電子宣傳品、展覽回饋中得以闡發,結論分別為: (一) 學習與理解中國藝術相關理論更能助於書畫,以及於中國韻味下,更能有所感興與消融。(二) 對於材質特性的瞭解與選擇,能造就成品的關鍵,其材質與線條之間的效果,除了技術上的熟練與注意,是否能以當代媒材凸顯傳統仕女為主要。(三) 期間心理變化具有起伏,對話也於停頓、遲疑才油然產生。(四) 作品與閱聽者互動、感興並反思,達到文化保存的目的。zh_TW
dc.description.abstractIn the creator’s painting process from elementary school to graduate institute, she has always had a keen interest in fine-brushwork painting of classical ladies, who have always aroused her awareness of sense of existence. Because of her longing for the ancient paradise, she withdraws from the reality through imagery. Therefore, the process of this creation consists mainly of traditional Chinese baimiao fine-brushwork painting, contemporary mixed media, the technology of finishing and post-printing, by which she not only imitated the paintings of contemporary painters Cai Lan, Wen Shuqiang, and Jin Dajun, but also conducted re-line drawing and re-interpretation of “Court Ladies Preparing Newly Woven Silk”, which was originally painted by Zhang Xuan and imitated by Emperor Huizong of Song Dynasty. Her aim was to understand the relationship between the drawing lines and herself through the technologies which she had learned from her department and tried to innovate. The purpose to discuss this creation is to explore the nature of creation within aesthetics and art thinking, to expound and realize the creation process of the creator, and finally reflect and discuss the issues of traditional art and its innovation. In addition, the creator hopes this creation can inspire the relevant audiences. The creator held the “Joint Exhibition of Creative Achievements: Innovation and Reinterpretation of Artistic Screening Style and Traditional Chinese Painting of Beautiful Women” at the first-floor hall of the major library of National Taiwan Normal University from May 16th to May 29th, 2018. "Re-Line", which was mentioned in her Chinese theme is a pun to "Re-Presentation", for the meaning of re-creation. The discussion of this creation raises four questions: (1) What are the impacts and enlightenments on her creation after the creator has learned art theory, aesthetics, and aesthetics of Chinese calligraphy? (2) What are the frictions in presentation caused by intersection of traditional Chinese baimiao fine-brushwork painting, contemporary mixed media, the technology of finishing and post-printing? (3) What are the creator’s psychological changes and self-talk during her creation process? (4) What are the results of the creator’s exhibition at National Taiwan Normal University and what are the viewers’ feedbacks and responses? The results of the creation have been presented in the series of works, electronic advertising materials and the feedback of exhibition in the context. The conclusions are as follows: (1) Learning and understanding the theories of Chinese art is helpful to the performance of creator’s paintings and calligraphy, while the traditional Chinese atmosphere and environment are also promoting the combination of creator’s feeling and creation. (2) The understanding and selection of material properties is the key to creating a good finished product. In addition to the need to pay attention to technical proficiency, how to clearly present traditional classical ladies by contemporary media is the main point to demonstrate the integrated effects of materials and lines. (3) There are ups and downs in the creator's psychological state during her creation, and the self-talk only occurs in the state of pause and hesitation. (4) Interaction, inspiration and reflection do occur between the works and the audiences, which can achieve the purpose of cultural preservation.en_US
dc.description.sponsorship圖文傳播學系zh_TW
dc.identifierG060472007H
dc.identifier.urihttp://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060472007H%22.&%22.id.&
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/99558
dc.language中文
dc.subject白描zh_TW
dc.subject重線zh_TW
dc.subject熱轉印zh_TW
dc.subject搗練圖zh_TW
dc.subject印後加工zh_TW
dc.subject工筆仕女畫zh_TW
dc.subject當代複合媒材zh_TW
dc.subjectbaimiaoen_US
dc.subjectre-lineen_US
dc.subjectpost-printingen_US
dc.subjectCourt Ladies Preparing Newly Woven Silken_US
dc.subjectfinishingen_US
dc.subjectfine-brushwork painting of classical ladiesen_US
dc.subjectcontemporary mixed mediaen_US
dc.title《重線》工筆仕女畫白描複合媒材創作論述zh_TW
dc.titleRe-Line: A Discussion on the Creation of Traditional Chinese Baimiao Fine - Brushwork Painting for Classical Ladies with Mixed Mediaen_US

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