從瀟湘八景延伸到「見立」手法創作一石垣美幸創作論述
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2021
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在中國繪畫史上，烙印於「瀟湘」之地的各種記憶，乃是許多士大夫、文人傳承的一大母題。〈瀟湘八景圖〉經禪僧傳入日本後，此記憶在日本產生了新的意義：人們開始在各地探尋風光明媚的日本八景。到了江戶時代，隨著大眾文化的抬頭，日本版瀟湘八景在浮世繪中逐漸成形。本創作研究考察日本移植容入「瀟湘八景」時，發現日本在繪畫創作的領域，並未將瀟湘所流傳的神話與故事，融入創作中，僅以風景或標題為框架式，卻無法將瀟湘之地的情愫納入創作之中。另外，本創作研究也考察了歷史上曾經實地造訪過瀟湘之地的中国詩人，畫家們，發現基於神話，故事與瀟湘之地自然的地景景色結合，在創作時，融入了創作者內心的悲悵，寂寞，鬱鬱等情愫，更能展現出瀟湘多重的自然美。還有本創作研究針對「瀟湘八景」，日本在日本化的過程中，對瀟湘文化要素的取捨的考察，發現文人畫家風格，特徵是縮小濃縮化並施以柔軟、自由的筆触，直接加入標題，描繪上並沒有著重在瀟湘典故中所流露出的悲哀與望鄉等之情愫。浮世繪〈瀟湘八景圖〉風格，則以大眾為對象，忽略歷史傳承故事、情愫等要素，僅展現時代概念的現代風格。最後，本創作研究透過實踐觀點的創作，發現情愫要素的導入與被見立對象的連結是重要的。筆者以具體或間接方式，嘗試在創作中表現出烙印於瀟湘之地的思鄉情懷、漂流異鄉的縹緲感，以及尋求桃花源理想國度的浪漫。筆者採用「見立」手法展開創作，作品可大分為三個系列：第一是瀰漫縹緲感的枯山水系列，第二是作為理想郷投影的臺灣八景系列，第三是結合上述兩者的心象山水作品。「見立」除了假借部分形體的單純操作外，還包括各種不同手法。筆者在本論文中透過創作進行摸索，闡明枯山水石庭所呈現的「情感的見立」，乃是「見立」中最高層次的創作手法。
"Xiaoxang”, the various memories engraved on the ground, was a major subject inherited by many scholar-officials and literati in the history of Chinese painting. This memory creates a new significant meaning with the painting of "Eight Views of Xiaoxiang" brought back by Zen monks to Japan. The era begins with people searching for Japanese eight views in various scenic places. During the Edo period, with the rise of the masses, Xiaoxang has been developed into "Ukiyo-e" as the Japanese version of Xiaoxang. In examining Japan’s incorporation of the “Eight Views of Xiaoxiang”, the author finds that the myths and stories inherited in the concept of Xiaoxiang were not reflected in Japanese artists’ painting works. Rather, the Japanese version of Xiaoxang focused on its structure as seen in the works’ scenic content or titles, and could not include in its creation the vast emotions associated with the Xiaoxiang region. The author also looks into the works of Chinese poets and painters whohad personally visited the Xiaoxiang region in history, and finds that the diverse natural beauty of Xiaoxiang was best presented through combining the region’s myths and stories with its natural sceneries while blending in the creators’ inner feelings such as grief, solitude and despondency. Through examining the selection of cultural elements in Japan’s incorporation of the “Eight Views of Xiaoxiang”, the author finds that the style of literati painters featured scaling down, applying soft and free touches and explicit titling, but did not emphasize on the feelings of sorrow and nostalgia revealed in the stories surrounding Xiaoxiang. With the general public as its subject, the Ukiyo-e version of “Eight Views of Xiaoxiang” ignored elements such as stories inherited through history and inner feelings, displaying only modernism in period concepts. Lastly, the author concludes, through art creation in practice, that it is important to incorporate inner feelings and build connection with the subjects captured.At times, the author tried to create something concretely and indirectly, such as the feeling of nostalgia memorized in the land of Xiaoxang, the feeling of stagnation in drifting, and the romance of searching for the Utopia. With the use of the technique of"Mitate", the author's work can be classified into 3 categories. The first of them is the Kareisansui series. The second of them is the series of the projection of Utopia with eight views of Taiwan. The last of them is the mental image of the Sansui work which combines the elements of the other two series. Mitate is not merely an art technique that borrows a part of the shapes from other creatures but also consists of various techniques in it. Using the best approach among all the other art techniques, the author tried to find out in this paper that there is a new"mitate of emotions" that also appears in the Karesansui and put it into practice in the author's artwork.
"Xiaoxang”, the various memories engraved on the ground, was a major subject inherited by many scholar-officials and literati in the history of Chinese painting. This memory creates a new significant meaning with the painting of "Eight Views of Xiaoxiang" brought back by Zen monks to Japan. The era begins with people searching for Japanese eight views in various scenic places. During the Edo period, with the rise of the masses, Xiaoxang has been developed into "Ukiyo-e" as the Japanese version of Xiaoxang. In examining Japan’s incorporation of the “Eight Views of Xiaoxiang”, the author finds that the myths and stories inherited in the concept of Xiaoxiang were not reflected in Japanese artists’ painting works. Rather, the Japanese version of Xiaoxang focused on its structure as seen in the works’ scenic content or titles, and could not include in its creation the vast emotions associated with the Xiaoxiang region. The author also looks into the works of Chinese poets and painters whohad personally visited the Xiaoxiang region in history, and finds that the diverse natural beauty of Xiaoxiang was best presented through combining the region’s myths and stories with its natural sceneries while blending in the creators’ inner feelings such as grief, solitude and despondency. Through examining the selection of cultural elements in Japan’s incorporation of the “Eight Views of Xiaoxiang”, the author finds that the style of literati painters featured scaling down, applying soft and free touches and explicit titling, but did not emphasize on the feelings of sorrow and nostalgia revealed in the stories surrounding Xiaoxiang. With the general public as its subject, the Ukiyo-e version of “Eight Views of Xiaoxiang” ignored elements such as stories inherited through history and inner feelings, displaying only modernism in period concepts. Lastly, the author concludes, through art creation in practice, that it is important to incorporate inner feelings and build connection with the subjects captured.At times, the author tried to create something concretely and indirectly, such as the feeling of nostalgia memorized in the land of Xiaoxang, the feeling of stagnation in drifting, and the romance of searching for the Utopia. With the use of the technique of"Mitate", the author's work can be classified into 3 categories. The first of them is the Kareisansui series. The second of them is the series of the projection of Utopia with eight views of Taiwan. The last of them is the mental image of the Sansui work which combines the elements of the other two series. Mitate is not merely an art technique that borrows a part of the shapes from other creatures but also consists of various techniques in it. Using the best approach among all the other art techniques, the author tried to find out in this paper that there is a new"mitate of emotions" that also appears in the Karesansui and put it into practice in the author's artwork.
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瀟湘八景, 台灣八景, 枯山水, 見立, 侘, 寂, 物哀, Eight views of Xiaoxiang, Eight views of Taiwan, Karesansui, Mitate, Wabi, Sabi, Aware