李君毅吳上瑋Wu, Shang-Wei2020-12-10不公開2020-12-102020http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22G060560012T%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/114699本研究論文是以筆者碩士期間的創作為研究對象，藉此來體現筆者自身以及反映社會環境。本文是以枯木圖像為出發點，在第二章學理依據的部分，先藉由樹的傳統象徵開始舖陳，舉例說明人類自古以來與樹的多種連結，豐富了「樹」意象的文化內涵；接著爬梳盆景藝術裡「文人樹」的相關脈絡，說明其枯、高、細、瘦的美學意義；最後帶入中國傳統水墨畫「寒林圖」相關的脈絡分析；用這三部分來呼應筆者作品中台灣杉圖像的風格及特點。第三章的學理依據使用潘諾夫斯基(Erwin Panofsky，1892-1968)的圖像學研究方法來分析蘇軾的〈枯木怪石圖〉，說明蘇軾對枯木圖像之間有著特殊的情感連結，而這也是當時代文人精神在枯木圖像上的綜合體現。第四章開始進入筆者作品中的枯木圖像，並且以圖像學的研究方法自我剖析，第一層是「前圖像誌描述」(Pre-iconographical description)，一開始先由作品中杉木的外觀特質及表現形式開始談起；第二層「圖像誌分析」(Iconographical analysis)則透過分類學及歷代文學論述「杉木」的文化意義；最後一層「圖像學解釋」(Iconological interpretation)的部分則闡述筆者對於杉木圖像的個人意義。第五章是個人作品分析，對各別作品一一做介紹。最後第六章為結論的部分，筆者總結作品對當代社會的關注以及藝術的思考，企望未來能持續深化並且提升個人的藝術創作。This thesis represents the author’s art works in the period of master’s degree study, which reveals the author’s connection between himself and the whole society. The study begins with the image of old dried-up tree. The theoretical basis of the second chapter consists of three parts, laying out the style and characteristic of the fir tree in the author’s creation. Firstly, with the traditional symbol of the tree, it shows the multiple relationships between humans and trees from ancient to modern times, which enrich the cultural meaning of the tree. Secondly, by laying the related context in penjing culture, it explains the aesthetic meaning of “dry, tall, lanky and thin tree” in China. Thirdly, it analyzes the “Winter Woods”, one of the traditional Chinese ink painting themes, as well as its related context. By employing the method of Erwin Panofsky’s iconology, the third chapter discusses Su Shi’s “Rotten Wood and Weird Rock”, especially its links to the artist’s special emotional interest in the image of dried tree. In addition, this emotional connection also reflects the spirits of educated people during that time. The forth chapter starts to analyze the author’s image of dried tree with the research method of iconology, which consist of three layers of analysis. In the first layer, the pre-iconographical description, it underlines the external characteristic and form of the fir tree. In the second layer, the iconographical analysis indicates what the fir tree represents in the cultural aspect within the systematic and historical contents. In the final layer, as known as the iconological interpretation, it demonstrates the personal meaning of the fir tree’s image to the author himself. The fifth chapter contains author’s presentation and analysis of his work. Finally, in the conclusion of the sixth chapter, the author pays attention to the modern social environment, and hopes that he can deepen and enhance his own creation continuously.圖像學台灣杉當代水墨Iconographyfir treecontemporary ink