象徵與關照─ 廖中聖水墨創作論述
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2013
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中國的「士」，作為一個承擔著文化使命的特殊階層，自始便在中國歷史上發揮著「知識份子」的功用。相較於西方的知識份子，中國傳統的知識份子與政治的關係更加微妙與繁雜，他們與中國的政治環境有著密切的關係，遊走於出世和入世之間。
第一章節介紹自我對於本文的研究動機與目的、研究內容與範圍、研究與創作的關係，行述整體文章脈絡。
第二章節文獻探討。知識份子階層的產生對於文人畫來說有著非常密切的關聯，而知識分子繪畫的圖像表現也讓文人畫在中國繪畫歷史上取得相當的地位。受到儒家人格理想的影響，以天下為己任的士大夫與表現濟世情懷的想法，何嘗不以「治國平天下」為目的。古代知識分子在出世與入世之間寄情於書畫，實現自我人格。所謂「達則兼濟天下，窮則獨善其身」，從而養成「內聖外王」的文人習性與立象盡意的傳統思維引導下進入了繪畫領域。藉由圖像符號的探討，瞭解文人習性如何透過圖像符號的象徵性滲透於畫中，遂成具有象徵性符號的表現方式，來產生對於社會觀照與人文情懷的展現。
第三章節了解當代水墨繪畫在議題與現代繪畫圖像的組構手法。傳統文人畫家將繪畫所描寫的意境融貫於園林的佈局與造景「園中有園…鏡中有園」的構景方法來延伸和擴大空間，將建築組構在園林空間中。經由電影中「蒙太奇」手法，轉換成繪畫的構圖形式組構在創作中，探討後文人時代現象，蒙太奇手法的組構思維表現方式和視覺效果運用在水墨繪畫中的可能性。而後，對於當代水墨畫在這個時代的展現模式做敘述與繪畫議題的探討，深入分析以象徵性圖像結合蒙太奇構圖手法的創作。最後在自我創作中對於社會議題與日常生活的體現與關照，進而反映社會人文情懷。
第四章節闡述個人意識的創作分析。創作以知識分子的自我意識介入生態環境的社會議題進行，利用圖案的象徵與擬人的手法，闡述個人思想於繪畫的展現，技法、媒材、圖像等在形式上的結合表現。延伸大學時期的生態系列作品，進行個人語彙的再進化與分析，在個人創作寄情於對社會議題的關懷，進而檢視創作研究成果，循著創作脈絡，繼續前進。
第五章結論。檢視身為知識分子在當代藝術表現上的重要性，並以現階段創作為基礎，提出未來的展望。
In Chinese history, "Shi" was a special class that undertook the cultural mission. From then on, they have played as “intellectuals” in Chinese history. Different from the western intellectuals, the traditional eastern intellectuals had more complex relationship with politic. Shi was the one who walking along aloofness and worldliness. Chapter One is to introduce the self-motivation, purpose, content and scope, the relationship between research and creation, and the whole structure of the research. Chapter Two is the theoretical framework. The formation of intellectuals had a close relationship with literati painting (Wen-Ren-Hua). The image expression of literati painting also placed the Chinese painting into a historical position. Affected by the Confucian ideal personality, those who took the world as their responsibility and concern the social issue were all for one purpose–“Their States being rightly governed, the entire world was at peace.”. Ancient intellectuals indulged themselves on painting during the aloofness and worldliness to fulfill their self-personality. The concept of “In difficulty they could only cultivate their own goodness. Successful, they could share their goodness with the whole world.” guided the literati who with “inner saint and outer king” mind and traditional thinking into the field of painting. Through the discussion over image symbols, giving an idea of how literati understood the paintings through symbolic images. As a result, the method of symbolic symbol was formed to show the social concern and humanistic feeling. Chapter Three is to understand the composition method of contemporary Chinese ink painting subjects and modern painting images. Traditional literati painters were used to use the composition of “A garden in a garden, a garden in a mirror” to extend and expand the space, and arranged the architectures in the garden. With the method of movie “montage”, the author transformed it into the painting structure of his creation. The author explored the phenomenon of post-literary era, especially the combination of montage and the possibility of visual effect on Chinese ink painting. Discuss the expression of contemporary Chinese ink painting and the subjects of painting. Then, get deeper to analyze the integration of the symbolic images and montage composition on the creation. At the end, the author focused on the topic of social issue and daily concern, which reflected the social and humanistic feeling. Chapter Four is to elaborate the personal creation analysis. The creation was base on the individual consciousness of intellectuals, which focused on ecological environment of social issue. Using the method of symbolic images and personification to elaborate the expression on painting from personal concept, and also presented the combination of techniques, materials, and images. To extend the author’s college creation – ecology series, the author re-evaluated his personal language. He focused on the concern of social issue, and surveyed the final creation, which the author could follow the result, and keep moving on. Chapter Five is the conclusion. The author had surveyed the importance of how intellectuals influenced contemporary arts. And based on the current creation, the research has given a vision of future.
In Chinese history, "Shi" was a special class that undertook the cultural mission. From then on, they have played as “intellectuals” in Chinese history. Different from the western intellectuals, the traditional eastern intellectuals had more complex relationship with politic. Shi was the one who walking along aloofness and worldliness. Chapter One is to introduce the self-motivation, purpose, content and scope, the relationship between research and creation, and the whole structure of the research. Chapter Two is the theoretical framework. The formation of intellectuals had a close relationship with literati painting (Wen-Ren-Hua). The image expression of literati painting also placed the Chinese painting into a historical position. Affected by the Confucian ideal personality, those who took the world as their responsibility and concern the social issue were all for one purpose–“Their States being rightly governed, the entire world was at peace.”. Ancient intellectuals indulged themselves on painting during the aloofness and worldliness to fulfill their self-personality. The concept of “In difficulty they could only cultivate their own goodness. Successful, they could share their goodness with the whole world.” guided the literati who with “inner saint and outer king” mind and traditional thinking into the field of painting. Through the discussion over image symbols, giving an idea of how literati understood the paintings through symbolic images. As a result, the method of symbolic symbol was formed to show the social concern and humanistic feeling. Chapter Three is to understand the composition method of contemporary Chinese ink painting subjects and modern painting images. Traditional literati painters were used to use the composition of “A garden in a garden, a garden in a mirror” to extend and expand the space, and arranged the architectures in the garden. With the method of movie “montage”, the author transformed it into the painting structure of his creation. The author explored the phenomenon of post-literary era, especially the combination of montage and the possibility of visual effect on Chinese ink painting. Discuss the expression of contemporary Chinese ink painting and the subjects of painting. Then, get deeper to analyze the integration of the symbolic images and montage composition on the creation. At the end, the author focused on the topic of social issue and daily concern, which reflected the social and humanistic feeling. Chapter Four is to elaborate the personal creation analysis. The creation was base on the individual consciousness of intellectuals, which focused on ecological environment of social issue. Using the method of symbolic images and personification to elaborate the expression on painting from personal concept, and also presented the combination of techniques, materials, and images. To extend the author’s college creation – ecology series, the author re-evaluated his personal language. He focused on the concern of social issue, and surveyed the final creation, which the author could follow the result, and keep moving on. Chapter Five is the conclusion. The author had surveyed the importance of how intellectuals influenced contemporary arts. And based on the current creation, the research has given a vision of future.
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Keywords
知識份子, 文人畫, 象徵性圖像, 蒙太奇, intellectuals, literati painting, symbolic images, montage