經營位置的古與今 —葉帆水墨創作論述
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2021
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從現象學和象徵主義的角度，來對建築空間展開思考和想像的話，那麼空間 並不是填充物體的容器，而是人類意識的居所，建築學就是棲居的詩學，筆者的 個人創作是以此為題材開始的，而本研究將圍繞繪畫藝術中的空間表現而展開。本文將研究範圍縮減到敘事學背景下山水畫、界畫、人物畫和風俗畫中的空 間表現，這與筆者自己水墨畫創作中的空間表現方式有很大的關係，雖然較強的 形式感是筆者作品的特點，但這特點主要也是為了表現暗含在作品中的敘述結 構。期望通過對比研究中西方繪畫作品中的空間表現，釐清一些關於繪畫空間表 現的脈絡與視覺經驗，進一步深化並應用在個人水墨創作作品中。筆者發現，敘 事性情節相關的空間處理，都是有一定經驗和規律可循的，空間表現的發展深受 時代的觀看方式影響。研究空間轉向問題，對空間表現作深入的探討和經驗積累。本文通過對比研究中國古代敘事性圖像的空間營造法則，與西方同類型圖像 的空間營造進行對比，主要採取圖像學研究、作品對比分析法、以及文獻分析 法，分析中西空間表現差異性的成因。在本文的結構安排上，首先筆者主要探討了敘事學背景下，中國與西方的空 間概念的表現。其中第一層主要研究中國古代敘事性圖像中空間的表現，包括人 物、山水、風俗畫，並將最為特殊的一類——敦煌壁畫中經變畫單獨提煉出來， 進行圖像分析。第二層著重以西方 14-19 世紀敘事性圖像中的空間表現作為研究 對象，討論西方對於「空間概念」的認識，以及在繪畫中的表現方式。然後，筆者在比較研究中察覺中西方空間差異，並研究這種差異的成因，主 要分析源於中西方空間觀念的根本不同，以及作品創作時表現媒材和表現手法的 差異。基於這些研究筆者進行了大量的水墨作品創作實踐，分析了筆者的創作理 念以及作品的形式，並對代表作品作詳細解析。最後，筆者認為空間表現與視覺觀看的關係是成互相影響的關係，這一部 分，據前人的研究成果，加上了筆者自己的一些想法，一是、為體察藝術創作者 如何通過繪畫語言進行空間表現，在視覺表現的引導下，讓觀者看到更多維的空 間，有更豐富的視覺體驗。其二、是在水墨畫語境中如何表現空間，形塑水墨中 特別的空間表現語彙，拓展水墨藝術語言的邊界，這是筆者研究空間概念並運用 於個人創作實踐中的重要環節，希望通過本文的研究能幫助指導筆者的創作實踐。
From the perspective of phenomenology and symbolism， to think and imagine the architectural space， then the space is not a container filled with objects， but a dwelling of human consciousness. Architecture is dwelling poetry. The author ’s personal creation is based on This is the beginning of the theme， and this research will focus on the spatial epression in painting art. Influenced by the research results of Wu Hong， Long Diyong and other predecessors， this article narrows the scope of the research object to the spatial expression in landscape painting， boundary painting， figure painting and genre painting under the background of narratology， which is different from the spatial expression of the author's own ink painting creation. There is a great relationship. It is hoped that through comparative study of the spatial expression in Chinese and Western paintings， it will clarify some context and visual experience about the spatial expression of paintings， and further deepen and apply it in personal ink painting creations. The author found that the spatial processing related to narrative plots has certain experience and rules to follow. Research is not the goal， but the first step of accumulating experience in exploring spatial performance. This paper compares the space creation rules of narrative images in ancient China and compares them with the space creation of the same types of images in the West. It mainly adopts imaging studies， comparative analysis of works， and literature analysis methods to analyze the causes of the differences between Chinese and Western spatial performance. In the structural arrangement of this article， first of all， the author mainly discusses the performance of the concept of space between China and the West under the background of narratology. The first layer mainly studies the representation of space in ancient Chinese narrative images， including figures， landscapes， and genre paintings， and separately extracts the most special type—the Dunhuang frescoes from the changed paintings for image analysis. The second layer focuses on the spatial representation in Western narrative images from the 14th to the 19th centuries as a research object， discussing the Western understanding of"spatial concepts" and the way of expression in painting. Then， in the comparative study， the author noticed the differences between Chinese and Western spaces， and studied the causes of such differences， mainly analyzing the fundamental differences in Chinese and Western spatial concepts， as well as the differences in the expression media and expression techniques in the creation of the work. Based on these researches， the author has carried out a large number of ink and wash works creation practice， and analyzed the author's creative concept and detailed analysis of representative work series. Finally， the author believes that the relationship between spatial performance and visual viewing is a mutually influential relationship. In this part， according to the previous research results， some of the author ’s own ideas are added. First， to understand how art creators use painting language Under the guidance of visual performance， spatial performance allows viewers to see more dimensional space and have a richer visual experience. Second， it is how to express space in the context of ink painting， shape the special vocabulary of space expression in ink painting， and expand the boundaries of ink art language. This is an important link for the author to study the concept of space and apply it to personal creative practice. 'S research can help guide the author's creative practice.
From the perspective of phenomenology and symbolism， to think and imagine the architectural space， then the space is not a container filled with objects， but a dwelling of human consciousness. Architecture is dwelling poetry. The author ’s personal creation is based on This is the beginning of the theme， and this research will focus on the spatial epression in painting art. Influenced by the research results of Wu Hong， Long Diyong and other predecessors， this article narrows the scope of the research object to the spatial expression in landscape painting， boundary painting， figure painting and genre painting under the background of narratology， which is different from the spatial expression of the author's own ink painting creation. There is a great relationship. It is hoped that through comparative study of the spatial expression in Chinese and Western paintings， it will clarify some context and visual experience about the spatial expression of paintings， and further deepen and apply it in personal ink painting creations. The author found that the spatial processing related to narrative plots has certain experience and rules to follow. Research is not the goal， but the first step of accumulating experience in exploring spatial performance. This paper compares the space creation rules of narrative images in ancient China and compares them with the space creation of the same types of images in the West. It mainly adopts imaging studies， comparative analysis of works， and literature analysis methods to analyze the causes of the differences between Chinese and Western spatial performance. In the structural arrangement of this article， first of all， the author mainly discusses the performance of the concept of space between China and the West under the background of narratology. The first layer mainly studies the representation of space in ancient Chinese narrative images， including figures， landscapes， and genre paintings， and separately extracts the most special type—the Dunhuang frescoes from the changed paintings for image analysis. The second layer focuses on the spatial representation in Western narrative images from the 14th to the 19th centuries as a research object， discussing the Western understanding of"spatial concepts" and the way of expression in painting. Then， in the comparative study， the author noticed the differences between Chinese and Western spaces， and studied the causes of such differences， mainly analyzing the fundamental differences in Chinese and Western spatial concepts， as well as the differences in the expression media and expression techniques in the creation of the work. Based on these researches， the author has carried out a large number of ink and wash works creation practice， and analyzed the author's creative concept and detailed analysis of representative work series. Finally， the author believes that the relationship between spatial performance and visual viewing is a mutually influential relationship. In this part， according to the previous research results， some of the author ’s own ideas are added. First， to understand how art creators use painting language Under the guidance of visual performance， spatial performance allows viewers to see more dimensional space and have a richer visual experience. Second， it is how to express space in the context of ink painting， shape the special vocabulary of space expression in ink painting， and expand the boundaries of ink art language. This is an important link for the author to study the concept of space and apply it to personal creative practice. 'S research can help guide the author's creative practice.
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Keywords
水墨, 空間表現, 界畫, 透視, 經營位置, 敘述性繪畫, space concept, ink painting, space expression, narrative painting, perspective, iconography