畫樹．話樹—林莉馨油畫創作研究

Abstract

人們的成長環境大多與樹息息相關，它不僅有著豐富而多采多姿的歷史，也有許多足以傳頌記述的典故與傳說，更見證了先民開疆闢士的艱苦奮鬥，從大樹看到自己、觀照到環境的變化與時間的互動，儼然是一部活的歷史。本創作應用寫意及分割的手法，融合印象派的色塊和表現主義的筆觸以多樣性的樹的構圖組合來創作。另外，在實物造型及線條常給予簡化，注重畫面中形體和色彩之間的平面佈局，使得物體產生出量感。並以「樹」為主題，著重於「樹」所延伸的意涵、個人對樹的感受、自我內在的呈現與日常生活的經驗。表現樹與台灣土地有著密不可分的關係，並傳達筆者熱愛土地與自然之情。本創作內容分為兩系列: 一、「大地生機系列」：表達樹與土地的關係，選擇了具有台灣精神的玉山圓柏、堅毅的梅樹及生活在我們周遭的阿勃勒為主題。畫面的內容呈現，包括結合玉山圓柏與代表台灣精神的玉山，來表現樹與這片美麗的台灣土地有著密不可分的關係，藉以表達筆者關懷自然，崇尚人與自然共存的和諧關係。二、「風中緋櫻系列」：探討霧社事件的背景、原因及蜂起，藉由探討史實，將這些文字化為一幅幅的圖像，重新再建構為個人的繪畫語言，將這重構的圖像與象徵日本殖民帝國的櫻花樹相結合。希望藉由藝術的再現，喚起歷史的記憶傷痛，並記取受到外來族群牽動，兄弟相殘的悲劇，不要繼續的上演。讓新台灣的歷史觀能更廣遠到台灣原住民族的歷史、各族群的文化和台灣本島的土地人文。 關鍵字： 畫樹、風景畫、玉山圓柏、霧社事件、歷史傷痛

The environment of human growth is mostly bound up with trees. Not only do trees comprise rich and colorful history, but they also incarnate various allusions and legends that are widely remembered and recited. Witnessing the toil of the settlers’ reclamation, trees as a living history from which we are in a position to catch sight of ourselves while observing the interactive potential between the environment and time. My artistic creation applies mainly the skills of freehand brushwork and division. With impressionistic color patches together with expressionistic strokes, the diversity of trees is revealed and represented by varied assemblages of composition. In addition, whereas the physical shape of the depicted objects is oftentimes simplified, both form and color are carefully rearranged in the flat plane to create a certain amount of quantity. The main focus lies in the extended meaning, personal feeling, internal self, and the daily experience pertaining to trees. This is to unfold the inextricable relations between trees and lands, displaying the author’s love of nature and the land of Taiwan. The present M.F.A. thesis is divided into two series: 1. The Series of Vital Land: This series intends to express the relations between trees and lands. The topics involve single-seed junipers as one of the attributes of Taiwan, the persistent prune trees, and the golden shower trees around our surroundings. The paintings represent a combination between single-seed junipers and Mt. Jade, the spiritual symbol of Taiwan. This is to reveal the reciprocal relations between trees and lands, displaying the author’s care and concern for the symbiosis with nature. 2. The Series of Cherry Blossoms in the Wind: This series intends to probe into the background as well as the occurrence of Wushe Event. The words deriving from the historical facts are reconstructed as personal languages of painting, associating the reconstructed images with cherry blossoms, an emblem of Japanese colonial empire. By virtue of artistic representation, I aim to recall the wounds of history in hopes of the preclusion of future ferment and fratricidal tragedies from happening time and again. Only when we are capable of facing up to the cost we have paid for the invasions of foreign tribes can we amplify the scope of our historical perception, making the history of Taiwan one that encompasses the history of Taiwanese aborigines, cultures of diverse ethnic groups, and all the people living on the land of Taiwan. Keywords: Sketching trees, Landscape, single-seed junipers, Wushe Event, wounds of history