程代勒Cheng, Tai-Le宗宏崗Zong, Hong-Gang2022-06-079999-12-312022-06-072021https://etds.lib.ntnu.edu.tw/thesis/detail/63bc37b8de874e56b1c976cf9d967921/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/116429中國傳統繪畫理論強調主觀情思及抒情性情感表達，造形上多運用「意象造形」，用筆用墨偏重其書寫性。文章以意象造形為基本切入點，研究「意象造形」中的意象、書寫性筆墨的同時，理論梳理意象造形「抒情性情感」及「書寫性」的相互關聯性，指出有意味的形象是畫家觀察、提煉、精神超越的結果，是書寫性筆墨與意象造形的統一，意象表達是畫家心中的外化之物。本論文以筆者「大師造像」組畫、「笑臉---速寫農民工」組畫、「國父」組畫作品為例，重新建構意象造形、書寫性筆墨議題，實例探討寫實主義繪畫裡的「書寫性」、「表現性」、「筆觸性線條」諸多的闡發可能性，也對新時期水墨人物畫的拓展實踐提出了個人的思索與見解。文章依託中華民族「尚意」的大背景，研究富有中國文人氣質、民族審美特質的東方韻味之意象書寫，強調藝術創作中「精神意識」、「性靈化」的自由抒發，企圖挖掘、強化本民族優秀文化特有的表現語言。在保有東方水墨意象前提下，探索水墨畫新的表現空間，繼而和世界優秀文化接軌，這對我們水墨畫來講才是真正意義上的「全球化」。從而印證文章觀點，守護筆墨語言，通過各自的藝術實踐，發展出筆墨語言的現代譜系。論述分八個章節說明，第一章對「書寫性」進行理論及現實層面追溯，在理論上將書寫性、意象造形嘗試初步連接。得出水墨畫所洋溢的抒情寫意性是一種富有民族精神的繪畫藝術的哲思體現。第二章重點闡述意象造形是畫家「意象」的外化形式，是畫家依據本心心源的「意象表現」。第三章初探中西造形的美學研究，分析中西繪畫造形中的思想、情感介入，建構書寫性筆墨、痕跡、質理為研究主體的美學研究。第四章繼續將文章主旨從歷史脈絡角度給予貫穿與連接，佐證「東方韻味」、「詩情畫意」的東方精神繪畫與意象筆墨更符合中國人的哲學體系及美學精神的追求。第五章著重於各個時期主要代表畫家對書寫性演變拓展進行較系統論述，論述線→筆觸性線條的性靈意象→筆觸書寫的圖像符號意涵→線語言的主體抽象構成的建立。第六章從筆者親身經歷著筆過渡到作品的觀看哲學與雜糅書寫，延伸到個性化書寫的形塑及作品大師力量圖像意義的凸顯。第七章以筆者近期創作為例，對不同的觀看模態尤其是筆者創作作品中傳達出的質理觀看進行了針對性闡釋，並對作品中雜糅的書寫、過程的美學價值等進行重點論述，呼應文章論述主旨。第八章回顧總結全文，強調在當今多元藝術世代，保有意象靈魂的書寫作品是中華民族藝術的精髓所在，在理﹑法﹑趣理論形式的美學體系基礎之上，創造出和時代相應的現代文化形態，這樣才具有它的現實意義和歷史價值。Chinese traditional painting theory emphasizes the subjective feelings and lyric expression of emotion, the use of"image shape" in the form, the use of brush and ink emphasis on its writing.Based on image as the basic starting point, the research of "image of the shape of the image, writing ink at the same time, the theory of carding image plastic" lyricism emotion "and" writing "the mutual relevance, points out that the meaningful image is the result of the painter observation, refining, spiritual transcendence, is the unity of writing ink and image of the shape, image to express the externalization of painter's heart. This paper takes the author's "master portrait" group painting, "smiley face -- sketch migrant workers" group painting, "the father of the nation" group painting as examples, to reconstruct the image formation, writing brush and ink issues, and to explore the interpretative possibilities of "writing", "expressiveness" and "brushwork lines" in the realistic painting.I also put forward my personal thoughts and opinions on the development of ink figure painting in the new period.Basedon the background of"still meaning" of the Chinese nation, this paper studies the image writing of Oriental charm, which is full of Chinese literati temperament and national aesthetic characteristics, and emphasizes the free expression of "spiritual consciousness" and "spiritualization" in artistic creation, in an attempt to excavate and strengthen the unique expression language of the excellent culture of our nation.On the premise of maintaining the image of Oriental ink painting, exploring the new expression space of ink painting, and then connecting with the world's excellent culture, this is the true "globalization" of ink painting for us.In order to confirm the point of view of the article, guard the pen and ink language, through their own artistic practice, developed the modern genealogy of the pen and ink language. The discussion is divided into eight chapters. The first chapter traces the "writing nature" from the theoretical and practical levels, and attempts to connect the writing nature and image formation theoretically.It is concluded that the lyric freehand expression of ink and wash painting is a philosophical reflection of painting art full of national spirit.The second chapter elaborates that image formation is the external form of the artist's "image", and the artist's "image expression" according to the original heart source.The third chapter explores the aesthetic research of Chinese and western painting, analyzes the intervention of thought and emotion in Chinese and western painting, and constructs the aesthetic research of writing pen and ink, traces and quality as the research subject.The fourth chapter continues to give the theme of the article from the perspective of historical context through and connection, to prove thatthe "Oriental charm", "poetic painting" of the Oriental spirit of painting and image ink more in line with the Chinese philosophy system and the pursuit of aesthetic spirit.The fifth chapter focuses on the main representative painters of various periods to systematically discuss the evolution and expansion of writing, and discusses the lines → the spiritual images of brush-stroke lines → the meaning of brush-stroke images → the establishment of the abstract composition of the main body of line language.The sixth chapter is a transition from the author's personal experience of writing to the philosophy of watching and writing together, and extends to the shape of personalized writing and the highlighting of the significance of the image of the power of the master.The seventh chapter takes the author's recent works as an example, elaborates the different viewing modes, especially the qualitative viewing conveyed in the author's works, and focuses on the mixed writing and the aesthetic value of the process in the works, echoing the theme of thearticle.The eighth chapter reviews and summarizes the full text, emphasizing that in today's multi-artistic generation, the writing works with the soul of images are the essence of Chinese national art. Only on the basis of the aesthetic system of theory, law and interest, can the modern cultural form corresponding to The Times be created, so as to have its realistic significance and historical value.書寫性意象造形筆墨質理水墨人物畫writingimage modelingbrush and inktextualityink figure painting