「真實與虛幻」-城市的差異空間繪畫創作研究

Abstract

藝術中的差異探討了空間的多樣性和變異性，是時間動態的本質運動，差異感受影響了我們對真實界的理解。筆者創作以自然形態為素材，運用生活中客觀存在的人事物，觀察日常、情感體驗、交流互動，在重複觀察生活與記憶尋找變化，體驗城市空間的一種質樸，追求繪畫的本質直觀與純粹。啟發筆者本文以差異思想美學進行分析研究，以類似站在巨人肩膀的角度，提出相關藝術視覺的形式，再通過理論基礎來實踐繪畫，從再現的要求中解放出來。真實的再現在西方美術史中一直是習習相關的問題，自古希臘時期，藝術家就試圖通過技巧和技藝來精確描繪現實世界，然而，隨著時代的變遷和觀念的演變，藝術家開始質疑真實再現的價值和意義。19 世紀的印象派出現等現代思想，如莫內（Claude Monet,1840-1926）和塞尚（Paul Cezanne,1839-1906），開始轉向描繪內在感受和主觀經驗，強調如色彩、造型和筆觸的平面本質，而不是對象的精確描繪，這種轉變反映了藝術家對真實性的重新思考。真實不僅可以通過精確的描繪來表達，也可以通過情感、感知和想像來創造，從人類心理和意識的深層結構，挑戰了理性和邏輯的界限，展現了虛幻的力量。本研究在探討差異美學於平面繪畫的表達與影響，分成五章，第一章緒論介紹筆者的研究動機與創作目的。第二章探討「真實與虛幻的差異空間」，第一節探討「傳統透視的空間」，第二節為「色彩的印象空間」，兩者個別分析真實與虛幻的意義，套用藝術如何反映、形塑、個體的認知。第三節主題為「第三空間的城市」，以真實與幻想的概念來反映城市空間的表達。第三章創作內容與形式分析，說明筆者對於城市空間的內容形式，以及創作媒材技法。第四章作品解析筆者作品創作的觀點，靈感來源與畫面安排。最後總結筆者創作的自我評價與省思，及未來長期的實踐展望期許。The differences in artistic styles helps one explore the variations and changes in spaces. This is the changeable nature of movements in time. Our observations about the differences affect how we understand reality and realism. The author creates his arts based on naturalism: from his quotidian observations, emotional experience to interactions with others. Over time, as he looks for changes in those repetitive observational patterns and memories, he experiences the simplicities of city living space and pursues, subjectively, the true nature and purity in painting. This further motivates the author to research and analyse art aesthetics, inspired by differences in thoughts. As if standing on the shoulders of great artists, seeing from their viewpoints,the author proposes to use a theoretical basis to inform and illuminate his creative process.Reality and realism in the history of Western Art has always been a subject of intense debate, since Greek antiquity, artists attempted to accurately depict the so-called real world. As time changes, however, and ideas evolve, artists began to question the value and meaning of recreating realism. During the 19th century, impressionism and post-impressionism emerged as a new trend of thinking. For example, Claude Monet(1840-1906) and Paul Cézanne (1839-1906), began to depict their inner feelings and subjective experience, emphasising the two dimensional nature of colour, form and brush strokes. These new artistic expressions, in contrast to previous realistic paintings,marked the turning point of how artists express themselves. Depicting reality does not need to be restricted by precise copies of nature; it can also be expressed with sentiment,discernment and imagination that arise from the human psyche and subconscious. This artistic power of illusion creatively challenges the boundaries of sensibilities and logic found in realistic painting.This research aims to explore the expressions and effects of aesthetic differences and variations in five chapters. The first introduces the author's motives and goals when creating his art. The second chapter explores the space of difference between reality and illusion: firstly, traditional perspective space; secondly, color impression space;ii thirdly, is the topic of the Third Place of the city, using concepts of reality and illusion to reflect artistic expressions of urban space; and, section investigates two-dimensional space in art, analysing how it manifests as recognisable abstract art. The third chapter enlarges on the Third Place city, explaining author’s use of art materials and techniques to create variable city spaces and contents. The fourth chapter dissects the author’s art,his viewpoints in creating art, his inspirations and how he arranges spaces on paintings.The final chapter concludes the author’s self-criticism and reflections of his art works,and his expectations and long-term execution of his future plans.