水光花影──花自芳菲水自流 林淑女水墨創作與研究

Abstract

藝術的表現常隨著時代，也同其合流並進，從自然與生命的角度觀想，藝術創作的過程，常是充滿著游離與隱晦的，即使自然給予人類無盡的生命及豐富的想像，生命形式的存在從來都是有其流動的定律與周期，不管是向外的擴張或向內的收縮，都顯示出生命的兩極化。從繪畫中體驗一種真理，就是自然，也由藝術的審美觀照中體會生命的無常，由這樣的意象空間，表現在視覺藝術上，以虛實心象的觀照，藉物化下所引生的精神境界，及自然節奏中體悟到的生命不可逆的本質，並以探就繪畫創作和外境相融之後所產生的一種心象。

因此本文中以時空意象及觀物之生的審美角度出發，在繪畫中，呈現創作者所意欲表現的心象語境與繪畫的精神意涵，同時顯示出創作者透過形象表達作品的思想內容時，呈現的底蘊是象徵與寄寓的、是幽微與感性的。並藉由水墨的傳統與時代精神的梳理與融合，將老莊哲學與儒家思想及中西方美學、圖像學、符號學、後現代語符……等不同的審美觀，作一一整理期使藝術的審美架構更為豐富且完善。使藝術創作的精神由物化的體悟中得到觀想與共感，將人的生命的情境提升，在繪畫創作中成為一種重要的價值呈現。 The presentation of art often changes and moves forward with the times. From a perspective of nature and life, the process of artistic creation is obscure and often detached from objects; despite the fact that Nature gives human beings limitless life and abundant imagination, the flow of the existence of life forms has always had been regular and cyclical, highlighting the polarization of life, whether it be an outward extension or and inward contraction. The truth, namely Nature, may be found in the paintings. While appreciating art, one can feel the ever-changing and mercurial quality of life. The mental images thereby generated are reflected as visual art. The observation of the substance and emptiness of one’s mental images, combined with a spiritual world created under objectification and the rhythm of the nature allows one to realize the irreversibility of life and explore a mental image developed by paintings and their harmonization with the outside world.

Therefore, this thesis will begin with a perspective of art appreciation cultivated by the mental images of time, space and observation. In a painting, when the artistic creator is attempting to convey their mental image and the spirit behind a piece, and at the same time, by means of concrete image presentation, the contents of their thoughts, the inner reality brought forward is symbolic, expressive, delicate and sensitive. By studying the tradition of brush painting and its aggregation and integration with the spirit of the times, this thesis will study different perspectives of arts appreciation, including the philosophy of Lao-Zi and Zhuang-Zi, Confucianism, Chinese and Western aesthetics, iconography, semiology and post-modern glossematics, in an attempt to make the framework of art appreciation more abundant and complete, elicit thoughts and a common feeling among viewers with the creative spirit of an artistic piece in the process of objectification, elevate lives, and make the artistic creation of a painting an essential form of the presentation of values.