坐看雲起 — 「山城」、「雲」彩墨探討

Abstract

坐看雲起---「山城」、「雲」彩墨探討 摘要: 自東西文化接觸開始，東西繪畫空間的探索與論述就從來沒有停止過。繪畫的發展過程撇開畫的內涵來看,以畫面的構成角度來看，可以說是視覺空間發展的歷史。透過繪畫空間,傳達給我們的不僅是藝術家個人的呈述,更是其所代表的整個文化、整個時代的思維方式和演進過程。 本文以「山」與「雲」圖像為起點，「空間」為基礎來看待繪畫的發展，追述東方和西方繪畫空間觀念的衍變入手試圖將東方和西方繪畫空間混和表現於繪畫創作中。當中主要以中國傳統的宇宙觀和哲學來表達中國繪畫的空間觀。這種獨具民族特色的空間觀念，以山水空間的繪畫方式在其文化背景下孕育出獨特的山水空間觀想。一個採取心靈力量來驅使的精神意象，並不斷地拓展其空間觀念，使其根基穩固並能自成一格。一個懷抱『仰觀宇宙之大,俯察品類之盛』的空間意識。為其文化理論表達,還以其獨特的節奏特徵和生命意識體現著與西方繪畫空間觀本質的差別。還特別強調了在當前繪畫創作中東方哲學思維的創作表現與心理特質所呈現的影響。 以描寫「山林」、「雲」、「城市」、「黑夜」、「燈」：利用畫面呈述人在面對自我的省思，製造一種無盡黑暗的氛圍，在一種強迫性恐慌存在與虛幻中讓人在真誠與虛假之間要做出最後的判斷。繪畫以靜默自省的態度為出發、淨化心靈為目的。企圖以「虛」、「實」，「地」、「圖」的交互應用、經營位置，影響整體畫面的氣氛感受，並用彩線代替墨線，皴擦出心中的一片青綠，渲染出綿連不絕的無盡天地。Summary: Ever since the eastern and western cultures encountered, the exploration and elaboration about eastern and western painting on space have never been stopped. Aside from the content of painting, in view of the angles that pictures constitute ,we can say the development process of painting is the history of visual space development. Through the space of painting conveys not only the artist’s personal statement, but also the whole generation’s way of thinking and process of evolution. This article applies the image of “mountains” and “clouds”, the notion of “space” to explore the development of painting. Trace back to the change of space concepts of eastern and western fine arts, trying to mix and displaying them in the creation of paintings. Mainly use the traditional Chinese universal view and philosophy to express the Chinese painting’s space notion. This national characteristic of space notion displayed in the way of the unique Chinese landscape painting. To urge the spiritual image by adopting the mental power, and expand the space notion incessantly, which had laid a solid foundation and had a style of its own. Chinese landscape paintings space awareness of “infinite universe, abundant resource” makes a totally different from that of the western painting. Applying “mountains& forests” “clouds”, “city”, “dark nights” and ‘light” as ingredients to describe self-reflection, create an atmosphere of endless darkness, a kind of forceful panic which force us to judge between truth and vanity .By means of silent self-reflection , to reach the purpose of purifying mind. An attempt of interchangeably applying :‘emptiness’; existence, “ ground” and “figure”, arranging position, influencing the whole atmosphere of the painting, using crayon instead of ink, producing blue and green impression, displaying endless, immense, infinite world.