墨戲牡蠣─當代水墨符號之建構：柯驎晏創作論述
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2018
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Abstract
本文採用文獻探討法、比較研究法、創作實踐和符號學分析梳理個人創作脈絡和學理依據之相互關係。
筆者希望透過研究水墨美學的理論架構，實際運用於當代水墨創作的延伸，主要研讀二十世紀筆墨變革時期之下的諸多文本，進而釐清個人創作之定位，思考創作研究的設定以及企圖形塑多元創作觀。
將個人創作脈絡區分為意、形、質，三方面梳理，意為創作對美學的實踐，主要在於氣韻生動及傳神論的探討；形則是將「似與不似」的繪畫面貌作為形式，套用在作品的呈現；質的部分提出須理解創作媒材本身即是作品的重要美感因素，應在材質保留與人工形塑間取得平衡。
接者由符號的原理解構水墨形符應具備之元素，並提出筆者將「筆墨」視為水墨符號形成之必然因素，試圖以上訴所得之結論引導個人創作，啟示發想個人水墨符號創作之原則，而個人符號之建構透過東方的物化手法，及西方的屬象手段分別豎立不同的典型意義。
創作實踐上分為「後現代」手法與「膠墨」技法之操作，分別論述兩這運用之目的，和技法執行之實況，經營切題又具個人特色之視覺圖式，最後透過個別作品逐一分析，完整敘述創作理念與創作技法之連結。
This article adopts literature exploration method, comparative research method, creative practice and semiotic analysis to comb the relationship between personal creation context and academic rationale. The author hopes to study the aesthetic framework of ink and wash aesthetics and apply it to the extension of modern ink painting creation. Mainly, reading many texts under the revolutionary period of the 20th century, clarifying the position of personal creation, considering the creation of creative research, and designing the plasticity of enterprises with creative concept. Dividing the personal creation context into meaning, form, and quality is a three-pronged approach. It means that the practice of aesthetics in creation is mainly about lively rhyme and the study of expressive theories. The shape is the form of a painting that not looks like and looks like. Applying to the presentation of the work, the qualitative part must be understood that the creative media itself is an important aesthetic factor of the work. A balance should be struck between material retention and artificial shaping. The interpreter uses the original understanding of the symbol to construct the elements that the symbol of ink painting should be possessed, proposing that the writer considers the “ brush and ink” as an indispensable factor in the formation of the ink and ink symbol, trying to guide individual creation by the conclusion obtained from the appeal, and revealing the principle of the creation of individual ink and ink symbols. And the construction of personal symbols through the East's materialization techniques, and the Western meanings of imagery erected different typical significance. The practice is divided into the operations of "postmodern" techniques and "gel-ink" techniques. They discuss the purpose of the two applications, the actual state of the execution of the techniques, and the visual schemata of personal characteristics. Finally, they are analyzed individually through individual works. Completely describes the link between creative ideas and creative techniques.
This article adopts literature exploration method, comparative research method, creative practice and semiotic analysis to comb the relationship between personal creation context and academic rationale. The author hopes to study the aesthetic framework of ink and wash aesthetics and apply it to the extension of modern ink painting creation. Mainly, reading many texts under the revolutionary period of the 20th century, clarifying the position of personal creation, considering the creation of creative research, and designing the plasticity of enterprises with creative concept. Dividing the personal creation context into meaning, form, and quality is a three-pronged approach. It means that the practice of aesthetics in creation is mainly about lively rhyme and the study of expressive theories. The shape is the form of a painting that not looks like and looks like. Applying to the presentation of the work, the qualitative part must be understood that the creative media itself is an important aesthetic factor of the work. A balance should be struck between material retention and artificial shaping. The interpreter uses the original understanding of the symbol to construct the elements that the symbol of ink painting should be possessed, proposing that the writer considers the “ brush and ink” as an indispensable factor in the formation of the ink and ink symbol, trying to guide individual creation by the conclusion obtained from the appeal, and revealing the principle of the creation of individual ink and ink symbols. And the construction of personal symbols through the East's materialization techniques, and the Western meanings of imagery erected different typical significance. The practice is divided into the operations of "postmodern" techniques and "gel-ink" techniques. They discuss the purpose of the two applications, the actual state of the execution of the techniques, and the visual schemata of personal characteristics. Finally, they are analyzed individually through individual works. Completely describes the link between creative ideas and creative techniques.
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不似之似, 筆墨, 符號, 形式, 牡蠣, Not looks like and looks like, Brush and Ink, Symbol, Form, Oyster