黃進龍洪仁進傅浩軒2020-12-102009-8-172020-12-102009http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0694600294%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115288摘要 本創作研究在探討人為化物品與自然環境背後的心靈場域。這心靈場域是筆者透過個人特定選用的符號來營造出一種可以訴說個人情感的畫面，而每個符號是親身經歷的、是身邊隨手可得的，也可能是想像出來的角色等。對於筆者而言，這些選用的符號為著就是能讓筆者更能夠清楚地與觀賞者一起關心環境的保 護，並傳達不只對大自然的保護有所負擔，同時也要關心人與人之間相處的問題。 論文撰寫的重心架構共分四章來敘述，謹摘要如下： 緒論：敘述筆者創作研究目的、動機、內容與方法等。重點擺在透過藝術創作深入對心靈的探討，並了解生命的可貴與自然的重要性。 第一章：創作相關文獻學理探討。敘述筆者受到西方藝術流派的影響，所衍伸出的個人創作方向與思維模式。因著筆者深受西方藝術的影響，在筆者的作品中可以看出對西方藝術某些特定時期的思維追求與表現手法的沿用。像是文藝復興時期對於筆者而言，所看重的反是對於自然的偉大而非全然的接受人定勝天的思維。透過探索自然的豐盛，體會寫實的定義不在是追求事物的表象，整個過程從親近大自然的巴比松畫派到指射人文的社會寫實主義與個人心象的寫實。最後透過浪漫主義的遐思與象徵主義背後的意涵，將前面對於生命中的體悟串聯在畫面當中，營造出隱喻性的畫面給予觀者啟示性的聯想。 第二章：從藝術、人文與自然的關連性中反思個人創作。透過藝術的角度筆者將自然的關懷與尋找自然與人文之間的平衡點，做為創作的方向。探討的方式藉由藝術、人文與自然相互的對話，來釐清三者各自扮演的角色，從筆者對於三者的體驗延伸出對環境保護為意象的心靈場域。 第三章：創作形式與技法媒材。本章節在談論筆者對於藝術創作的價值在於能夠與觀者之間有更深層面的對話，期待的是更深的隱喻性畫面能夠啟示觀者對於環境保護的看待與自身經歷的反思，而不是停留在表面視覺效果的美感。每張藝術品若企圖透過熟練的技法來呈現出畫家所要求的藝術面貌，而這時技法的活潑與細膩顯的格外重要。因為若沒有生命支撐的技法是難以彰顯畫家內心深處的生命力只會成為死板的呈現，也難以成就一張充滿靈魂的作品。 第四章：代表作品分析。本章節以各種的心靈場域連結訴說筆者的心境，以不同的符號呈現各階段的作品面貌，來表示對環境保護的重視。 結論：個人創作觀感與成果分享，以及在未來面對創作上的態度與期許。This study aims to explore the atmosphere of imagination underlying humanization and nature. The atmosphere of imagination refers to the image that an artist creates to convey his/her personal emotion via his/her selection of particular symbols. These symbols can derive from the artist＇s personal experience, so can they be imaginary characters. To me, the symbols I selected not only represent the joint concern for environmental protection but they express my interest in interpersonal issues. The present thesis is outlined as follows. Introduction: The introductory section states the author＇s motivation, contents, and methodology, the focus of which lies in the exploration of mind and the understanding of the value of life and nature through art creation. Chapter 1: Chapter one reviews some related theories, particularly those of Western Artist sect that have had great influence on the author＇s conception of creation and his way of thinking. Deeply affected by the Western art, the author has been making use of thoughts and ways of some specific period in the Westeren Artist, such as Renaissance＇s desire to depict the beauty of nature, to create his art works. Via exploring the richness of nature, one should realize that what defines realism is no longer the pursuit of superficial appearance, but is the closeness to nature as advocated by Barbizon School, the reference to humanity as highlighted by social realism, and personal imagination of realistically. The ultimate goal is to link such realization with the background of Romanticism and the meaning of Symbolism to construct metaphorical images that can inspire viewers. Chapter 2: Chapter 2 is the reflection of personal creation via the association of art, humanity, and nature. The author tries to seek for a balance between his concern for nature and the relationship between nature and humanity in his creation of art works. He tries to clarify the role of art, humanity, and nature by exploring how the three interact and further to extend his experience into the atmosphere of imagination based on the concept of environmental protection. Chapter 3: Chapter 3 regards the form of creation and expression of material. This chapter describes the author＇s view of the value of art creation. He deems art a media for an artist and his/her viewers to communicate and converse. His creations attempt more than the aesthetic perception. Instead, he expects that his metaphorical creations can inspire viewers to take environment seriously and to have introspection of their personal experience. Moreover, the expression of delicate and bright is crucial in displaying the artistic features the painter wishes to present. Without the expression of life, the painter cannot manifest his innermost vitality, nor can he accomplish art works of soul. Chapter 4: Chapter 4 is the analysis of the author＇s art works. By linking to every kind of the atmosphere of imagination, this chapter reveals the author＇s state of mind when creating his art works. In different phases of creation, the author exploits different symbols to show how he thinks highly of environmental protection. Conclusion: Finally, the author shares his perspectives and products at present, as well as his attitude toward and expectation of his future artistic creation.傅浩軒自然主義浪漫主義象徵主義隱喻魏斯保麗龍上帝