孫翼華Sun, Yi-Hua陳郁盛Chen, Yu-Sheng2023-12-082023-01-082023-12-082023https://etds.lib.ntnu.edu.tw/thesis/detail/133806bcb95f78d93349e8a1f824ae13/http://rportal.lib.ntnu.edu.tw/handle/20.500.12235/118838本論文以「筆墨」作為母題，探討身心活動轉化、書寫情感質地及禪美學之空性思維，意圖以個人創作實踐力求水墨畫之清新面目。 　本論文分為五章：第一章緒論包含創作動機、研究內容、方法與限制，並作特殊名詞之釋義。第二章學理探析特別以東方傳統書畫理論融合西方身體哲學觀點，形塑筆墨精神性、互動性、空間性的視域激盪，共分為「凝想形物之精神」、「全幅天地之互動」、「意識擴張之空間」三大子題進行討論。第三章相關創作以齊物、原始、修為、拓域作關鍵詞，探討國內外藝術家作品的圖像內涵，並論其創作對筆者影響。第四章個人創作實踐則先剖析「靜躁書寫」及「幻化自然」的主軸思路，再以創作思維中「一線一命．筆筆相生」、「安妥虛實．圓滿畫境」、「繁簡結組．象外求象」；創作方法裡「一管太虛．念想行識」、「朝夕靜觀．無始無終」、「收放身心．剛柔並濟」的子題分項定義筆墨之於個人創作的審美品質與標準，呈現《渡心》、《花語》兩大創作系列中個別作品的經驗成果與歷程反思。第五章結論將歸結創作觀念與實踐，並以「統合視域．重構筆墨」、「反芻創作．晉升思維」、「終結話語．重拾畫語」三大面向，展望藝術與生命關係，延續寫畫之意義。This study focuses on “brushwork” and examines the transformation of body-mind activities, the writing of sentimental qualities, and the concept of Śūnyatā within Zen aesthetics, indicating “emptiness” and “non-attachment.” The purpose of this study is to pursue a refreshing aspect of ink wash painting.This study is divided into five chapters. The first chapter includes creative motivation, research contents, methods, and limitations, and the definition of specific terms. The second chapter is devoted to theoretical explorations, especially the combination of Eastern theories of calligraphy and painting with Western philosophical views of the body. Spirituality, interactivity, and spatial quality of brushwork is analyzed in three subsections: reflection of the spirit of shape and objects, interaction of full-scale cosmos, and space for consciousness expansion. The third chapter focuses on the four key concepts: equality of things, origin, cultivation, and expanding the field. Here visual contents of domestic and international artists are discussed and their influences on my work are traced. The fourth chapter consists of my personal creative practices. Here I trace the two thematic thoughts: “writing of calmness and agitation” and “Spiritualizing nature.” Then I move on to the three sets of creative thoughts: “vital and connected lines,” “secure in emptiness and substantiality for a painterly perfection,” and “integrating complexity and simplicity to achieve form outside the form.” Finally, I define the sub-concepts of my creative methods, including “transferring creative consciousness into thoughts, movements, and awareness,” “silent views of day and night without beginning and end,” “expansion and withdrawal of body and mind with equal rigidness and suppleness.” These are used to define the function of brushwork in my personal creation as aesthetic quality and standard, showing the results and processes of my two creative series, “Cultivation and Transformation of Heart” and “Gestures of Flowers.” In the conclusion of the fifth chapter, I summarize my creative concepts and practices and examine the three prospects for connecting art and life: “a unified vision to reconstruct brushwork,” “reflection of creative works to elevate the thoughts,” and “ending the words to restart the painter’s vocabulary.” These will extend the significance of calligraphic painting.筆墨書寫性寫畫身體圖式禪美學BrushworkCalligraphic linesCalligraphic paintingBody patternsZen aestheticsetd