中國寫意繪畫技法於平面設計之創作研究

dc.contributor周賢彬zh_TW
dc.contributor.author蘇士堯zh_TW
dc.date.accessioned2019-09-05T03:27:04Z
dc.date.available2007-6-27
dc.date.available2019-09-05T03:27:04Z
dc.date.issued2007
dc.description.abstract中國寫意繪畫技法於平面設計之創作研究 在中國美術史上,沒有「抽像」此一名詞,西方美術則無從定義「寫意」內涵,但在傳統寫意水墨畫中藝術家以「氣韻生動」之境界,描繪出內在的神韻和本身心裡的意念,此過程中必須具有高度抽像思維能力方能轉化成情意深遠之作品。反觀西方美術在演進至完全抽像的過程中,創作者以實驗性、革命性之手法,將內心所欲傳達之社會現象、理想抱負與呼籲,透過畫面傳遞給世人,圖像不再具體描繪的形體準確相似,取而代之以寫意的對話模式呈現,遂有構成主義之誕生,兩者相異的時空於此一基礎上產生微妙的連結。 中國繪畫之寫意手法,用筆雖簡而具高度概括以少勝多之含蓄意境,以此角度看西方構成主義,雖僅以簡單、幾何構圖,但視覺效果強烈、意境繁邃,具豐富表現力,兩者雖以不同面貌成為藝術史上一環,但其內在寫意精神卻是相通。在藝術持續中西交融的現況中,將中國水墨寫意藝術與同樣具寫意精神之西方構成主義相比較與融合。以中國獨有之祥瑞動物四靈獸題材為元素進行創作,其代表對應之含意,設計四幅單張以季為單位之月曆,組合可成為年曆之作品。 中西結合效果,於東方民族可產生熟悉親近感,西方觀點則倍覺神秘新鮮。純以電腦繪圖工具取代傳統手繪,使向來屬於藝術家創作的水墨畫,亦能由不同背景之創作設計者加以嶄新呈現,運用中國水墨畫特性融入西方用色、構圖形式,使原本便特色獨運之墨跡效果,風韻益顯多元精彩。 關鍵詞:寫意、水墨、構成主義、四靈獸zh_TW
dc.description.abstractThe Study of Application of Freehand Brushwork in Chinese Painting Techniques to Graphic Design There is no 「abstract」 in Chinese fine art terminology and it is with difficulty to define what 「freehand manner brushwork」 is in western fine art history. Therefore in the traditional freehand brushwork water ink painting、artist should have high-end abstracting ability to embed his/her insightful thought into artwork. Inversely、with the growth of abstraction in western fine art progression、the artists adopt experimental/revolutionary methodology to express their interpretation of social phenomenon、ambition and declaration. Through pictures circulating、images are not drawn precisely similar to object shape. Instead、a fashion of sketch/freehand is disclosed in a dialogue mode. It brought up the birth of 「constructivism」. Both western 「constructivism」 and oriental 「abstract」 are spiritually linked in different locality and occasion. With simple stroke、the subtext of 「freehand brushwork」 implies 「less is more」 connotation. By observing western constructivism、the composition is simple、geometry-based、the visual effect is aspiring and aura is ample. Their interior-spirits are co-related. Comparing and immixture of western/eastern constructivism/freehand brushwork、adopting the four fortuitous sacred monsters as elements、the author creates the seasons-based calendars. The results of incorporation of eastern and western art、brings about the familiarity for oriental people、whereas sense of secret for westerns. Replacing traditional handy drawing with computer graphics tool makes the posture of freehand brushwork more fascinating、with characteristics of Chinese water ink painting and composition principle of western fine art、the developmentof featured stroke-trace Chinese watercolor would be more multi-phases and abundant. Keyword: freehand brushwork、water-ink、Constructivism、four sacred monstersen_US
dc.description.sponsorship設計學系zh_TW
dc.identifierGN0694630134
dc.identifier.urihttp://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0694630134%22.&%22.id.&
dc.identifier.urihttp://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/103394
dc.language中文
dc.subject寫意zh_TW
dc.subject水墨zh_TW
dc.subject構成主義zh_TW
dc.subject四靈獸zh_TW
dc.subjectfreehand brushworken_US
dc.subjectwater-inken_US
dc.subjectConstructivismen_US
dc.subjectfour sacred monstersen_US
dc.title中國寫意繪畫技法於平面設計之創作研究zh_TW
dc.titleThe Study of Application of Freehand Brushwork in Chinese Painting Techniques to Graphic Designen_US

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