蒼涼與孤獨--以張愛玲小說中之女性人物為研究對象

Abstract

對繪畫而言，觀念或情感僅是一個出發點，目的在於創造出一個在內容上和形式完整的藝術作品，這和寫作詩文類似。在虛構的小說世界裡，人物的個性形象可以被塑造，環境氣氛可以被設定；相類似的思惟轉移至繪畫世界裡，亦可隨畫家所欲天馬行空。基於此一想法，筆者將張愛玲的小說帶入畫中，取她故事情節的滄桑、古老、孤獨與華麗感；取她小說裡的女人所經歷的無奈、矛盾與諷刺感。描寫生活在想像世界中的眾生相，透過小說世界中的虛構人物詮釋筆者心目中的蒼涼與孤獨感；關照一般女性在男女情感上所受到的不平待遇與委屈、提出省思撫慰受到心靈創傷的女性友人們。 本專論的主要架構如下： 第一章緒論，第一節創作前言，第二節研究動機與目的，第三節研究範圍，論述包括作家張愛玲的介紹、蒼涼與孤獨的定義、研究張愛玲作品中的女性人物並從心理學的角度探討其情感脈絡、以民初上海女性人物為研究範圍。第二章論述創作的理念，第一節論述文學與繪畫的關係，舉例說明文字可以書寫的為何繪畫做不到。第二節論述電影與繪畫的關係，參考李安導演如何將張愛玲的作品拍攝成電影、如何處理象徵性的隱喻等問題。第三節論述插畫與繪畫的關係，簡述插畫的構成要件與繪畫的界限。第三章創作理論基礎、第一節論述拉斐爾前派、第二節論述象徵主義、第三節超現實主義等對筆者的創作過程的影響與相似處。第四節分析莫迪里亞尼、卡蘿與馬格利特的作品。第四章創作內容、形式與媒材技法，詳述此次專題的題材與形式表現，創作中媒材的應用與技法說明。第五章作品解說。第六章結論，總結文字與繪畫是可以有限制地轉換。Painting in terms of ideas or emotions is only a starting point, aims to create a content and form of the complete works of art, which is similar to writing poetry. In the fictional world, the image of the personality of the characters can be molded; the atmosphere can be set; similar to contemplate the transfer to the world of painting and also with the painter’s random ideas. Based on this idea, the author bring Eileen Zhang’s novel into the painting to take her story of the vicissitudes of life, old, lonely and gorgeous and take the paradox, irony sense and frustration experienced by the woman in her novel. Describe the living beings in the world of the imagination and through the fictional character in the novel world to interpret the desolation and loneliness through the eyes of author. In the male and female’s emotion and grievances, care for the uneven treatment of the average women and to reflect and comfort the trauma of female friends. The main framework of this monograph is as follows: Chapter I: Introduction; Section I: Creation Introduction; Section II: Motivation and purpose; Section III: Scope of the study; to discuss the introduction of the writer Eileen Zhang and the definition of desolation and Loneliness. Study the female characters in Eileen Zhang’s works and from a psychological point of view to explore the emotional context as well as from the female characters of the early Republican era as the scope of the study. Chapter II: Discusses the concept of creation. Section I discusses the relationship between literature and painting. Illustrate that why text can be written but painting cannot. Section II discusses the relationship between film and painting. Refer to the movie director Ang Lee and how he turns Eileen Chang's works into a movie and how to deal with the problem of symbolic metaphor. Section III discusses the relationship between illustration and painting and brief illustration of the boundaries of elements and painting. Chapter III: Creative theoretical foundation; Section I: Discourse the Pre-Raphaelite ; Section II: Discourse the symbolism; Section III: Surrealism; Those sections reflect the author's creative process and the similarities. Section IV: Analysis of the works of Modigliani, Carol, and Magritte. Chapter IV: The creative content, forms and media techniques; to discuss the details of the theme of the topic and form and to describe the creation of media applications and techniques. Chapter V: Works commentary. Chapter VI: Conclusion; The summary text and paintings can be limited conversion .