富貴天下---林宏信水墨創作論述
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2010
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傳統水墨藝術觀念與現代藝術思潮的論戰、對抗、分解…進而彼此互相挪用、融合、重組…,使得創作本質上對傳統文化有多樣的當代詮釋,是我很喜歡的創作議題。
筆者想藉本篇論文研究,除讓自己對傳統水墨藝術觀念與現代藝術思潮融合運用之外,也對傳統紋飾圖案的裝飾性、藝術性、設計感做結合,並融入形式結構的應用,期能讓自己的繪畫風格能有所突破,更進一步。並以反求諸己之方法,從自己的歷史文化中打破藝術種類的藩籬,重新再加以新的詮釋及獲得新的能量,並激發出新的藝術光芒,並從別種藝術領域中吸取新的表現手法及技術,以增進水墨的變化性。而另一方法便是移花接木:即有如果農栽種果樹一般,用接木法把將要繁殖之果樹的枝或芽剪下,移接到其他植物的枝幹上。此方法卻可以同時吸收融合多種藝術形式,使得水墨畫能產生新的面貌,且還能延續傳統水墨的特質與特性,如此才能同時大量內化外來藝術的理論、觀念、技法與形式,也就更能創作出符合當代藝術精神的水墨作品。
此次研究創作的作品,便是採用此兩種方式。「反求諸己」地把中國傳統觀念中代表富貴的牡丹圖像及象徵權貴的清朝宮廷服飾之紋樣拿來運用、重組,營造出新的視覺藝術,並「接枝」後現代主義中的創作觀念,在作品內容中並置當代社會流行商品的標誌,給予新的象徵意義,並與中國傳統紋樣互相合成或單獨呈現,藉由平面式的裝飾感、重複性的描繪及圖案式的呈現,展現出後現代主義中的解構性、寓言行、不確定性、反諷…等觀念。在外在形式上,亦隨畫面的需要而有所不同,期望能呈現出一種既有傳統水墨精神,又有當代性語彙的水墨作品。
The arguments, fights, and disintegration between the arts of traditional Chinese ink paintings and modern arts lead the two genres to borrow from each other, blend and reunite again. This phenomenon helps the nature of creation interpret traditional cultures in a variety of contemporary ways. This kind of creation is always personally favored by the author. The author is hoping to integrate the perspectives of traditional Chinese ink paintings with the trend of modern arts in the study, blending the decoration, aesthetics, and design of traditional patterns into the structure and style of the author’s personal paintings. In this way, the author may bring new elements into his artworks, seek the cause in history and culture to free himself from the limitation of art genres and obtain new energy to interpret arts in a whole new way. New expressions and techniques may be borrowed from other genres of arts to increase the variety of ink paintings. Another technique is grafting, which farmers attach twigs or buds of the wanted living plant to the branches of other plants. This method enables ink paintings to have a new life, absorb various art styles and keep its characteristics alive. In this case, theories, perspectives, techniques, and forms of foreign arts may be greatly internalized to create ink artworks better conforming to the spirit of contemporary arts. The work created in this study adopts these two methods. Firstly, “seeking the cause.” The study tries to create a new visionary artwork by utilizing and reuniting peonies, a symbol of wealth, and the patterns on royal clothing of Ching Dynasty, a symbol of power in Chinese traditional values. Secondly, “grafting.” The work is grafted onto the creative ideas of post-modernism. Contemporary trademarks or logos of popular products are placed in the work to give it a new meaning. The trademarks4 or logos may be blended into Chinese traditional patterns or be presented alone. The work is aimed at presenting the deconstruction, moral lessons, uncertainty, and irony of post-modernism by means of flat, decorative, and repetitive illustrations and pictures. In terms of exterior forms, the work is expected to be a successful combination of traditional ink painting spirit and contemporary messages in accordance with the demands of viewpoints.
The arguments, fights, and disintegration between the arts of traditional Chinese ink paintings and modern arts lead the two genres to borrow from each other, blend and reunite again. This phenomenon helps the nature of creation interpret traditional cultures in a variety of contemporary ways. This kind of creation is always personally favored by the author. The author is hoping to integrate the perspectives of traditional Chinese ink paintings with the trend of modern arts in the study, blending the decoration, aesthetics, and design of traditional patterns into the structure and style of the author’s personal paintings. In this way, the author may bring new elements into his artworks, seek the cause in history and culture to free himself from the limitation of art genres and obtain new energy to interpret arts in a whole new way. New expressions and techniques may be borrowed from other genres of arts to increase the variety of ink paintings. Another technique is grafting, which farmers attach twigs or buds of the wanted living plant to the branches of other plants. This method enables ink paintings to have a new life, absorb various art styles and keep its characteristics alive. In this case, theories, perspectives, techniques, and forms of foreign arts may be greatly internalized to create ink artworks better conforming to the spirit of contemporary arts. The work created in this study adopts these two methods. Firstly, “seeking the cause.” The study tries to create a new visionary artwork by utilizing and reuniting peonies, a symbol of wealth, and the patterns on royal clothing of Ching Dynasty, a symbol of power in Chinese traditional values. Secondly, “grafting.” The work is grafted onto the creative ideas of post-modernism. Contemporary trademarks or logos of popular products are placed in the work to give it a new meaning. The trademarks4 or logos may be blended into Chinese traditional patterns or be presented alone. The work is aimed at presenting the deconstruction, moral lessons, uncertainty, and irony of post-modernism by means of flat, decorative, and repetitive illustrations and pictures. In terms of exterior forms, the work is expected to be a successful combination of traditional ink painting spirit and contemporary messages in accordance with the demands of viewpoints.
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紋飾圖案, 裝飾性, 設計風, 反求諸己, 接枝, 後現代, pattern, decoration, design style, seek the cause in oneself, graft, post-modernism