台灣意象-兒童題材之墨彩畫物創作研究

Abstract

隨著資訊、網路的等發展，不但縮短時間、空間的距離，也造就了訊息、思想流通快速的當代，「全球化」將世界帶入新的世代。

中國文化「天人合一」的哲學思想，說明人本、自然、性靈三者相互的關係，藝術是人類文化的表徵、是藝術創作者的思想具現，亦是藝術創作者與自然的對話，每件藝術品皆闡述者創作者當下所處的時空背景、社會環境與其人生歷練種種。在現今，中華文化特有的藝術，水墨畫隨著時代的變遷而走向多元多貌的景象，在追求不斷創新、求變的藝術洪流中，水墨畫的包容性變得更多元，界定也變得更寬廣。在這東西合遇、新舊交融的多元世代，筆者試圖在其中思考、探索，找出關於自我的藝術創作方式，無論是在過去、現在或是未來，往往最孰悉的，才最能夠觸動人心，因此筆者以最孰悉的生活環境和文化出發，以台灣小孩為主體，進行一系列台灣意象-兒童墨彩畫創作研究。

本創作研究分六章進行論述，第一章緒論說明筆者研究的動機、目的、範圍、限制和方法，第二章引用理論、探討文獻，第三章分析創作理念，第四章說明創作的形式、內容、媒材和方法，第五章創作實踐與作品解說，第六章結論闡述筆者的省思與展望。其中第五章創作實踐部分，分三系列進行創作，分別是「民族意象」系列、「民俗意象」系列和「台灣意象」系列，進行研究的對象和內容，是由生活周遭取材，尋找生活上最常接觸或是最有感觸的題材；在繪畫表現上，試圖從傳統汲取精隨，並而從中衍伸出自我的繪畫創作風貌。The development of information and the Internet not only shortens the distance of time and space but also results in a generation of rapid transmission of information and thoughts. “Globalization” brings the whole world to a new generation.

The philosophy of Chinese culture, Tian Ren He Yi “Harmony between man and nature,” illustrates the connection between human, nature and spirits. Art is the representation of human cultures, the concrete display of the thoughts of the artists and the communication between artists and nature. Each art work depicts the background, social environment and the life story that the artists experienced at that time. Nowadays, Chinese special form of art, ink painting, has multiple looks as the time changed. In the stream of the innovation and variation, ink painting broadens its boundary and becomes multicultural. In the era of the combination of the east and the west and the transition of the old and the new, a personal way of the art creation needs to be found. Whether in the past, at present or in the future, the most familiar things always touch people's heart most. Therefore, the research starts from the most familiar environment and culture, Taiwan, and a series of research of Taiwan image is conducted in the topic of Children ink painting creation. The objects and contents are gathered from the daily life. In the presentation of painting, the essence of the tradition in Taiwan and development of the unique painting style are especially shown.

The research is elaborated in six chapters. Chapter 1 makes a description of the motive, purpose, range, limitation and methods of the research. Chapter 2 reviews the previous theories and related studies. Chapter 3 analyzes the creation concept. Chapter 4 explains the styles, contents, media and methods that are used in the works. Presentations of creations and the explanation of art works are made in Chapter 5, which is further separated into three series of creation: racial image, folk image and Taiwan image. Chapter 6 is the conclusion of the research and further studies.