牡丹花繪畫之研究與創作實踐

Abstract

自古以來花鳥畫名家輩出，畫法完備。在形式、風格、內涵之表現上可謂千變萬化，令人目不暇給，如黃荃之富麗工細，徐熙之野逸瀟灑，揚州八怪之奇肆豪放，徐渭的狂傲，八大的奇、簡，趙之謙、吳昌碩以金石書法筆意入畫等。一路行來，高峰迭起，他們所創造的藝術風格令人景仰讚賞，而他們作品中所呈現的生命力更是令人感動不已。本文擬藉由牡丹花繪畫之研究與創作實踐，對「觀萬物生意」的真意，加以分析與探討。 本論文第一章緒論，主要內容著重於闡述個人之研究動機與目的、研究方法與創作實踐之規劃、研究範圍與名詞界定。第二章文獻探討，主要內容為花鳥畫的發展、牡丹花的象徵意義與吉祥圖意 。第三章為牡丹花的栽培與生態結構分析。第四章為牡丹花的表現技法研究。第五章主要內容在於闡述個人創作理念的形成。第六章著重於創作實踐成果的解析，在這一章裡，試以創作研究作品十件作為本次創作內容的解說，並藉由作品傳達個人的創作理念及表現風格。第七章針對個人的創作研究心得作一總結說明。透過本論文之撰寫與創作研究，本人發現：在牡丹花彩墨繪畫方面，若欲刻意革新並呈現全新風貌，並非易事。此乃肈因於傳統表現形式之約制。本人僅能盡個人所能，全力以赴，展現初步探究之成果。A Study and A Practice of Painting Peony Summary a totally new stFrom time immemorial, talented painters mastering in flowers and birds were born from generation to generation. Varieties in the forms, styles, and substances were dazzling to the eyes. Examples include: Huang Chuan who is famous for his sumptuous refinement; Hsu Hsi who is known for his unconstrained free spirit; Yangzhou-Eight-Eccentrics for their extraordinary novelty; Hsu Wei for his self-conceitedness; Bada Shanren for his rare simplicity; Chao-Jichien and Wu Changshuo for the seal engravings and calligraphy in their paintings. High peaks rise up after high peaks through the history of Chinese painting. The art styles these painters created draw admiration and the vitality presented in their paintings touches our heart. The purpose of this paper is to analyze and discuss how to put into practice these painting skills by studying peony. In the first chapter, main theme focuses on the study motivation, methods, creation plan, study scope and term definitions. Second chapter is on literature study, focusing on the development of Flower-and-Bird paintings, symbolic meaning of peony and how it became a happy omen. Third chapter discusses how to grow a peony with an analysis of environmental influence included. Forth chapter focuses on the techniques involved to depict a peony. Fifth chapter is mainly an explanation of personal ideas in creating art works. Sixth chapter focuses on analyzing art works resulted from the practice of creative ideas; ten pieces of mine serve as the subject of the analysis, also as a means to convey my personal painting ideas and styles. The Seventh chapter is a conclusion elucidating my personal experience in the study and painting of a peony. It is through the write-up of this paper that I realize how difficult it is to reform the coloring and inking in painting a peony, not to mention to present it inyle. The restriction of the traditional way of expression is too strong to be broken with. I can only do my best by presenting to you the first step of my study.