孫翼華Sun, Yi-Hua吳金英Wu, Chin-Ying2020-12-102018-07-092020-12-102018http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G0004603130%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114420王弼言：「聖人達自然之性，暢萬物之情。」。藝術創作是心靈與生活的產物，在繪畫的表現形質上，藝術家要將自己的作品以人生的體驗與藝術主張呈現，在中國傳統文化的創作精神及與時俱進的科技……等快速變遷的生活節奏中，藝術糾結在時空、場域變換的漩渦裡，尋找扭曲變形的靈感的創作來源，在中西方各種文化的墨水調和過程中，產生出一種弔詭的藝術氛圍。 心靈深處的繪畫的常理是什麼呢? 是生命經驗、文化、情感……，本文嘗試將中國花鳥畫象徵隱喻的文化結合西方符號學、擬像、貝氏擬態……等論述引入，尋找繪畫創作的素材，集結中國傳統花鳥畫象徵共感的符號，作為中國花鳥畫符號的元素作為本文花鳥畫創作以達到研究目的。 本文分為五大部分，第一章緒論，內容包含研究動機與目的、研究範圍與方法與限制、名詞釋義。主要在中國傳統的花鳥畫的象徵與符號，做現實與超現實的互動與想像，介入仿擬物與裂變及幻化的議題，從《色彩論》(Farbenlehre，1810)暗箱的光學研究場域，黑暗房間似乎再度於內(interior)外(eXterior)之間、光源和孔徑之間、觀察者和客體之間與傳統中國花鳥畫表象符號及隱喻的內在意涵，呈現出另一種不同的中國花鳥畫創作面貌。第二章則透過中西方花鳥象徵符號的文獻分析，其中包含中國古典花鳥畫象徵意涵，並以貝茲昆蟲擬態與符碼及擬像及擬仿物的形構來進行創作方向的梳理與解析。第三章主要為研究台灣現代水墨「意象構成」的符號意象、「隱匿」、「花鳥畫」的創作形式作探討。第四章透過「擬．相」花鳥畫創作的現代性與理念分析及上述理念課題進行創作具體的實踐。第五章結論的部分，從花鳥創作研究的過程中，以客觀的省思角度進行花鳥創作符號象徵所引發心靈藝術創作中的本質思考。Wang Bi once said: “The sage reaches the state of Nature and come through the emotions of all being.” This is a symbol of things and phenomena. Artistic creation is the product of mind and life. In the expressive form and material for painting, the artist needs to show personal experience in life and belief in art through his own art, in the creative spirit of traditional Chinese culture and the quick changing pace of ever advancing technology. Entangled in space and time, and caught in the whirlpool of changing areas, art finds its inspiration of twists and turns as the source of creativity, resulting in an ironic artistic atmosphere in the ink mixture of various cultures of the East and the West. What are the ordinary reasons for painting the deep of the heart? There are experience in life, culture, emotions, and others. This article tries to find material for painting, combine the symbology and metaphor in Chinese flower-and-bird painting with Western thought, including semiotics, simulation, and Bayesian imitation, in order to create elements for the symbols in the creation of flower-and-bird painting and to achieve the research objectives. The article is divided into five parts. The first is introduction, containing the motivation and aim of the research, as well as the scope and limitation of the research with definition of terms. The focus is a realistic and surrealist interaction and imagination of symbolism and sign in traditional Chinese flower-and-bird painting, mixed with topics of simulation, fragmentation, and metamorphosis. From the optical research on camera bellows in Farbenlehre in 1810. Dark rooms seem to go from the interior to the exterior, and from the light source to the aperture, from the observer to the object, and from the apparent symbol to inner metaphoric meaning in traditional Chinese flower-and-bird painting, showing another different face for creating different Chinese flower-and-bird painting. Through reviewing the eastern and western literature on the symbolism flower-and-bird painting, the second chapter analyzes the direction for creation, including the symbolism in Chinese classical flower-and-bird painting, Bayesian imitation in the insects, symbols, simulation, and the shapes of simulacra. The third chapter deals with image composition of modern ink wash painting, concealment, and the creative forms of flower-and-bird painting. The fourth chapter realizes the concept through the modernity, conceptual analysis, and all foregoing topics in “Simulacra” flower-and-bird painting. To conclude with objective reflection, the fifth chapter is an ontological investigation of the mental and artistic creation evoked by the creative symbolic sign.擬．相擬態仿擬物花鳥畫隱匿Simulacrasimulationsimulacraflower-and-bird paintingconcealment