浮生．幻境－周采彤水墨創作論述

Abstract

寫生觀察、結構建置、圖像形塑是創作學習，繪畫至關重要的是「情感、藝術表現力」，敬仰岩畫、地畫多寫物外之形，成教化助人倫，黃庭堅曾述「千載人」胸中必有千載韻，世界遺產的象徵是識，符號是幟，筆者筆墨遵循古人，仿擬太虛之體，借引美學來探索遺址之知識，觀察分析岩畫藝術之圖騰象徵。《浮生．幻境》，意謂浮生若夢、幻象造境，內容以敘事情節為形式，論述浮生誌事、修心悟道、生命行旅與虛實幻境。今汲取西方技法置入東方藝術，實驗水墨「跨域」和「媒材轉置」，並嘗試掌握「視錯覺」牽引觀者眼動軌跡，體驗眼前所見並非就是一切。創作心得寄情於「妙造自然」，延續妙在似與不似之間。本創作研究共分五章敘述，第一章緒論，研究動機與目的、研究內容、範圍、研究方法、名詞釋義等。第二章，以象徵與符號交織的分析、虛實錯視在平衡中的探索，詮釋出符號象徵與虛實空間之學理探討。第三章，浮生幻境之相關創作，安排浮生境遇的時空表現，其次，朦朧意象的超現實表現與夢幻光影之界域表現。第四章個人創作實踐及三大系列作品之蘊涵分析，第五章結論。《浮生．幻境》，有人形剪影噴染、泡泡嬗變在不同系列中，深耕水墨繪畫應對當代，學習並轉譯世界遺產的文明。

Observational sketching, the structural arrangement of paintings, and the shaping of images are crucial aspects of creative learning. The essence of painting lies in"emotion and artistic expression." Admiration for rock paintings and geoglyphs goes beyond portraying external forms, contributing to moral and educational upliftment. As Huang Tingjian once expressed, within the heart of a "millennium person," there must be a thousand years of literary charm. The symbol of world heritage is knowledge, and the sign is a representation. The author, following the footsteps of ancient masters, adheres to the imitation of the ethereal brushstroke, borrowing aesthetics to explore the knowledge of archaeological sites. Observing and analyzing the symbolic representations in rock art, this research interprets the symbols."Floating Life, Illusory Realm" signifies life's transient nature, and illusions shape our reality. The content adopts a narrative form, discussing life events, the pursuit of spiritual enlightenment, the journey of life, and the boundary between reality and illusion. In the present work, Western techniques are incorporated into Eastern art, experimenting with the "cross-domain" and "media transformation" of ink painting. There is an attempt to master the manipulation of "visual illusions," guiding the viewer's eye movements on the canvas to experience that what is seen may not be everything. The creative process is guided by the concept of "creating wonders from nature," continuing the exploration of the subtle balance between resemblance and non-resemblance. This creative research is organized into five chapters. The first chapter serves as an introduction, covering research motivation and objectives, research content, scope, research methods, and the definition of terms. The secondchapter delves into the analysis of the interweaving of symbols, exploring the balance between virtual and real illusions, and interpreting the theoretical discussions on symbolic representation and the exploration of symbolic and virtual spaces. The third chapter explores relevant creative works related to"Floating Life, Illusory Realm." It organizes the spatiotemporal representation of life's circumstances, followed by the surreal expression of vague imagery and the portrayal of the realm of dreamlike light and shadow. The fourth chapter provides an analysis of personal creative practices and the inherent meanings within the three major series of works. The fifth chapter concludes the study. "Floating Life, Illusory Realm" incorporates techniques such as human-shaped silhouettes, spray dyeing, and the transformation of bubbles across different series. The work delves deep into ink painting as a response to contemporary art, learning, and interpreting the civilizations of world heritage.