遊‧觀‧獨白─山水畫之研究與創作理念

Abstract

本論文分為兩大部份，第一至第四章為創作理念之探討，第五章則是創作作品之實踐。研究內容以山水畫為主軸，研究架構以遊、觀、遊觀與獨白為探討核心，融合現象學、存在主義、完形心理學和詮釋學……等學說，並比較傳統與當代藝術現象，另加入文學資料的探究，以重新詮釋山水畫論。 創作者走訪山林，身歷其境去體驗，紀錄途中所見、所聞，而創作亦如同旅行，創作者將遊歷或平時生活的所感、所獲，萃取、轉化為創作素材，並在綿延不斷的時空歷程中，反覆選擇、重組創作的觀點與手法，以成就創作的旅程。而創作又如同是在進行個人的獨白，創作者不單只是自說自話，透過多元角度的遊觀，不斷與外界的人事物進行對話，從中反思、生成不同以往的見解，尋找創新的可能，形塑個人獨白式的創作觀，進而展現出截然不同的創作風貌。 理論的研究最終歸結到作品的實踐，筆者根據對都市環境觀察的結果，提出現今生活環境景觀呈現一種「片狀」的形態，昔日的「好山水」，如今皆為櫛比鱗次的人工建物所遮蔽，因此理想式的自然山水僅能存乎於心中，故而仰賴創作者創建「遊觀後的獨白式」桃花源。筆者以《山的獨白》做為整個系列作的主題，將遊觀、閱讀、對話的心得，轉化為自我的獨白，型塑屬於個人風格的作品。The dissertation includes a discussion on concepts for creating arts and the actual practice for art creations. The research aims at re-interpretation of landscape painting by a comparison of traditional and modern art phenomena with additional literary data. Furthermore, many art theories are applied to the discourse about how landscape paintings are composed through traveling, seeing, observing, wandering and monologue. What artists physically and spiritually have experienced in their daily life or on traveling no doubt turn into materials for their art creation. In the meantime, the process of creation is not only influenced by monologue with the artists’ inner-self but also constant dialogues with other people. As a result, different painting styles can be generated based on careful selection and arrangement through interaction. According to what the author has observed, artists must rely on the reflection monologue with the ideal nature from the heart because many tall buildings have covered the old day’s good landscapes. Nowadays, the living environments are like pieces of a puzzle in which hide the real beauty of nature. The author intends to use the monologue of a mountain as a theme to illustrate how he creates art works with a personal style by interacting with nature.