水意悠悠-從表象手法看山水畫中的人文價值

Abstract

摘要 本文從探討中國畫中一直居於陪襯地位的「水景」出發，思索中國藝術在整個文化體系中的精神本質與內涵，據以歸結創新方向，並以創作實踐作為立論之輔助。 第一章為緒論，說明研究動機與目的、研究範圍與方法，及重要名詞解釋。 第二章以史料文獻概述山水畫的源流及發展面貌，在資料選取方面，以潛藏於表象技巧之下的、影響畫家個人思維與時代審美取向的內在因素為闡述重點，避免史料汲取時的重複敘述。 第三章則進一步說明中國藝術的精神來源和本質：一是畫作主題、意義中的人文主義價值，二是此種內涵具體落於紙上時，所呈現的特質與面貌。 第四章探討水景在畫作中對整體構圖、畫面氣氛所掌握的作用，並歸納整理傳統技法中的水紋描繪方式，以此對照近代諸位大家在水景表現上的透徹研究。 第五章面對中國繪畫近代以來的發展現況，在價值混淆的潮流中，釐清迷惘與困惑，肯定中國繪畫中濃厚的人文主義色彩，認同藝術對「人」的關懷。 第六章分述個人創作理念和作品分析，記錄創作歷程中靈感的觸動、題材的汲取等緣由。 第七章為結論，條列本論文中歸結的各項論點，並提出對個人未來創作之期許。Abstract This article is developed from exploring the “water feature”, which has been serving as a contrast of Chinese drawings, to speculate upon the spirit and content of Chinese art within a whole cultural system, and thereby conclude a direction to creation and use creation implementation as assistance of argumentation. First chapter is the introduction that describes the motives and purposes of this study and keyword explanation. The Second chapter summarizes the origin and development of landscape painting from historical documentation. As to data selection, my key point is the internal factors under the technical presentation that influence an artist’s personal thinking and the orientation of appreciation of beauty at that time and avoid repeatedly narration for collecting historical documentations. The third chapter further explains the origin of spirit and substance of Chinese art: one is the humanity value inside the topic and meaning of the painting, and second is the characteristics and features appeared as physically expressing this intention on paper. The Fourth chapter discusses the function by using water feature to control overall composition and mood of painting and conclude the methods of water corrugation drawing in traditional techniques, by which to have thoroughly study on comparison to water feature appearances presented by modern well-known artists. The fifth chapter aims at the circumstances of modern Chinese painting development, clears out the perplexity and confusion from the trend of value puzzle, and positively approves the heavy humanism color within Chinese paintings that identify art with carefulness to “human”. The sixth chapter describes personal concept of creation and works analysis, keeps track of the causes of connection to inspiration and subject derivation in creation progresses. The seventh chapter is summary, which lists various opinions concluded in this essay item by item and proposes the expectation to my personal creation in the future.