自然‧人文‧多元文化:並陳與融合的水墨畫創作研究 Nature, Humanity, and Multiculturalism: A Study of Juxtaposition and Integration in Ink Paintings

dc.contributor 江明賢教授 zh_TW
dc.contributor 李振明教授 zh_TW
dc.contributor Chiang Ming-Shyan en_US
dc.contributor Lee Jimmy en_US
dc.contributor.author 黃淑卿 zh_TW
dc.contributor.author Huang Shu-Ching en_US
dc.date.accessioned 2020-12-10T06:13:08Z
dc.date.available 2011-5-9
dc.date.available 2020-12-10T06:13:08Z
dc.date.issued 2011
dc.description.abstract 本研究在內容上由台灣在地背景為多元文化的書寫內涵,以綜合媒材的並陳與融合為技法,形式上以意象組構的手法,水印木版肌理為畫作主要形式與骨架,來呈現當代水墨畫創作中,自然生態與人文關懷及多元文化共融的議題,以「百囀千聲隨意移」之觀念,作為鳥類自由置放及媒材形式多面相的思考,各章節主要內容摘要如下: 第一章緒論:說明研究動機、目的、內容與範圍,研究方法與限制。 第二章:從中國文化裡花鳥繪畫美學的涉探開始,論及花鳥與中國文化的千年戀結,鳥類繪畫中象徵的引藉及花鳥畫裡的社會性文化。在創作上,舉台灣當代以論述為主的藝評家的藝術觀點、及以自然生態與人文關懷為議題之現代水墨畫創作為參照,原住民圖像方面則以陳奇祿、日治時期及當代藝術家所蒐羅描繪及創作的原民圖像為參考。 第三章:體現水墨創作者與主體文化、當代藝術和生活間的交融、搓揉與周旋,如何能在冥渺雜沓的現代藝術風格走向中,尋得一條書寫文化多元並融與媒材綜合融揉的行徑。筆者向民間及原住民藝術取經,轉譯世俗文化中的象徵符碼,援引常民生活中既熟悉又陌生的圖像,應用於彩墨作品的背景中。敘述原住民們對於傳統文化的自覺、原漢藝術的共融與昇華、部落藝術的形式風格特徵等,進而促成多元文化並陳與融合的創作內涵。 第四章:書寫以意象組構為形式的繪畫風格理解,融入民俗生活符號,舉例圖騰式的水墨創作的他山之石,飛羽符號與原住民圖騰符號的利用,來論述圖像符號在意象組構水墨創作中的指涉。在水墨畫與多元媒材共融的創作形式中,說明水印木版、膠彩和金箔等綜合媒材與水墨畫間的並陳與融合。 第五章:以創作歷程中的形式主題為內容,依序說明個人創作意象的思維與內涵,包含轉換與再現、鳥鳴不已的生命關懷、百囀千聲隨意移的自在、生發與榮枯的象徵與對比。探討個人意象組構式繪畫、虛與實、無畫處皆成妙境的留白美學、間讓互揖的鬆緊形式及個人繪畫符號中,台灣鄉土鳥類的選擇與地方特色的表現。用水印木版轉介自然界、廟宇建築雕刻,原住民木雕等肌理的質感,來形塑另類的形式之美,及探討木版肌理在水墨畫中的解構思維,期盼「水墨不依恃濃淡渲染也可以氣象萬千,版畫除卻刻痕清晰外也能飄然靈動」。 第六章:解析創作的四大主要內容:自然生態與人文環境、民間文化藝術、部落物質文化,及原生意象與族群文化,並個別分析「百囀千聲隨意移」及「原生意象」代表作品之創作緣由與內容。 第七章:在結論中,就整個創作論述依創作理念、內容、元素、形式與技法作一總結性的歸納,透過水印木版與彩墨間至真至合的實驗創作,恣意灑脫的筆迴旋在繁點聚攢的天地間,酣暢淋漓的墨色與文理斑斑的版印,組構出新的視界,在融匯多元文化的藝術領域中,營造鳥鳴珠箔、群花自落的境界。 zh_TW
dc.description.abstract Abstract The research is mainly focused on diverse cultures in Taiwan. In addition, the study apply techniques of juxtaposition and integration of mixed media, the skill of image composition as a form, and the texture of wood-block printing as the main structure to deal with the issues of a concern for nature, humanism, and the integration of diverse cultures. Moreover, the author also uses the idea that birds sing freely in trees as a way to express the multi-dimensional thinking of media forms and of freely placing painted-birds in the works. The summary of each chapter presents as follows. Chapter 1 Introduction: The author illustrates motives, objectives, content and scope, methodology, and limitations. Chapter 2 Starting by exploring the aesthetics of flower-and-bird paintings in the Chinese culture, the author discusses a long-lasting and intertwined relationship between flower-and-bird paintings and the Chinese culture, the borrowing of symbols in bird paintings, and the social culture in flower-and-bird paintings. In addition, the author adopts the viewpoints of contemporary Taiwanese art critics whose publications are primarily discourse-based. Moreover, the author uses the modern ink paintings whose themes are centered on humanistic care and a concern for nature and exploits aboriginal paintings either collected or created by Chi-lu Chen or by artists in the Japanese colonial period and in contemporary times as reference. Chapter 3 Ink-painting artists integrate, intertwine, and deal with the mainstream culture, the contemporary art, and life. The author seeks to represents how ink-painting artists find out a path to multicultural integration and mixed media when facing various and obscure styles of modern art. The author learns from folk art and aboriginal art and renders to symbols and codes in the secular culture. Moreover, the author also borrows familiar and strange images in folk life to apply to backgrounds of ink and color paintings. The works present indigenes’ awareness of their traditional cultures, their identification with their own cultures, the integration and sublimation of indigenous culture and Han culture, and the forms, styles, and characteristics of aboriginal art to further create works juxtaposing and integrating diverse cultures. Chapter 4 The author presents her understanding of image-composed painting styles and illustrates her ideas with totem-composed ink paintings by other artists ,including the symbols of arrows and aboriginal totems, to discourse what images and codes signify in image-composed ink paintings. In addition, the author integrates ink paintings with multi-media as a creation form to illustrate the juxtaposition and integration of ink paintings and mixed media, including the wood-block printing, glue color, and gold foil. Chapter 5 Based on various forms and themes in the course of creation, the author sequentially illustrates the ideas and meanings of personal created images, including transformation and representation, a perpetual care for lives, freedom as birds sing freely in trees, symbols and contrasts of birth/death and blooming/withering. The author explores paintings composed of personal-created images, emptiness and actuality, the aesthetics of leaving blank space, the forms and characteristics of personal works, including the choice of painted birds among local birds in Taiwan and the representation of local characteristics to explore the deconstructive ideas of wood-board texture in ink paintings and construct a special beauty of forms. In addition, the author expects that ink paintings can be represented splendid without depending on the light and heavy ink tone. The author also hopes that printmaking can be vivid and lively in addition to clear engraving lines. The author uses the wood-block printing to render the beauty of nature, the sculptures in temples, and aboriginal wood carvings to discourse the handling of wood texture and the beauty of forms Chapter 6 The author analyzes four main themes in personal creations, including nature and humanistic environment, folk cultures and art, the material culture of different tribes, and indigenous images and cultures. In addition, the author individually introduces the causes and meanings of her ink paintings that represent ideas of indigenous images and the freedom as birds sing freely in trees. Chapter 7: In the conclusion, the author summarizes the thesis in accordance with the creation concepts, content, elements, styles, and techniques. Through the experimental paintings which perfectly and harmoniously integrate wood-block printings with ink and color, the brush moves easily and freely in the world created by the effect of wood-block printings. Free-flowing ink and the effect of textures of wood-block printings compose a new field of vision and create a world of Zen in the art field integrating diverse cultures. en_US
dc.description.sponsorship 美術學系 zh_TW
dc.identifier GN0895600122
dc.identifier.uri http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0895600122%22.&
dc.identifier.uri http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115592
dc.language 中文
dc.language 中文
dc.subject 自然生態 zh_TW
dc.subject 意象組構 zh_TW
dc.subject 文化融合 zh_TW
dc.subject 原住民木雕 zh_TW
dc.subject Nature en_US
dc.subject Image-Composed en_US
dc.subject Cultural Integration en_US
dc.subject Aboriginal Woodcarving en_US
dc.title 自然‧人文‧多元文化:並陳與融合的水墨畫創作研究 zh_TW
dc.title Nature, Humanity, and Multiculturalism: A Study of Juxtaposition and Integration in Ink Paintings en_US
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