何懷碩陳錫盈2020-12-102009-7-142020-12-102009http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0595603118%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115153本論文為筆者的創作論述，以「水墨」與「書法」為表現範疇，以「筆墨」為表達工具，展開「形式」與「內容」的探索與實驗，做為本文的研究主軸。 首先，從畫面構成的關係開始，討論畫面中點、線、面的關係，從線條與墨色變化討論「筆墨」特色與畫面的「虛實布白」在中國繪畫中的運用。 其次，延續筆墨線條的探討，討論書法在符號傳達功能之外的文化意涵與書法寫經的宗教意涵。並舉台灣青壯輩畫家為例，試圖找出台灣當代書法的特色與發展的可能性。 第三，為筆者的創作理念，在作品中分別論述水墨與書法的創作理念與材質實驗。水墨造境部分：在觀察樹林形象而演變出「林」系列，用空中鳥瞰的角度來描寫，所發展出的「長河」系列，以及以鏡攝與對稱構圖方式的「靜」系列。水墨人體部分：將筆者以筆墨線條來描繪人體的學習歷程與習作做一分析比較。書法部分：考量整體畫面的結構，嘗試用平面構成方式來創作，進而消解書法作品中的文辭意義，以文字符號本身的形象趣味來構成畫面。在寫經部分：延續書法的訓練，在書法的「實用美」與「藝術美」的範疇之外，從宗教角度探索書法抄寫經文的意涵，對不同時期的寫經作品材質與裝幀形式進行討論。在材質部分：選用熟紙與加工紙張進行「積墨法」與畫面層次的材質實驗，並在用墨之外，選擇泥金搭配加工紙張來呈現。 在作品說明部分，分別敘述本論文所列出的作品之創作構想與心得。並在最後的結論中，闡述筆者的研究結果與未來展望。This paper was my creations treatise, “ink painting” and “calligraphy” treated as for the creation scope, “pen and ink” treated as the transmission tool, then again explored “form” and “content”. First, from the picture constitution start, discussed in the picture spot, the line, the surface, discussed “pen and ink” from the line and the ink color change the characteristic, with picture “connection between empty and reality” in Chinese drawing utilization. Next, discussed the calligraphy outside the mark transmission function cultural significance, with wrote after religious significance. And took the Taiwan middle age calligrapher as the example, attempted had discovered the Taiwan present age calligraphy characteristic and the development possibility. Third, was my creation idea, transmitted the ink painting and the calligraphy creation idea and the drawing material experiment in mine work. In ink painting part: I observed the modeling of forest, created “the forest” the series, with the bird's eye view way, developed “the perpetual flow” the series, as well as absorbs with the mirror with the symmetrical composition way, created “calm” the series. In human body sketch part: I used ink painting line to describe the human body, and analyzed compared the study process and the work. In calligraphy part: created with the plane design way, also dispelled in the calligraphy work writing significance, displayed the writing mark modeling interest. In scripture-writing part: explored the calligraphy religious texts significance from the religious viewpoint, and carried on the comparison to the different time work material and the form. In creation material part: Selected the processed rice paper to carry on “the accumulated ink law” with the drawing material experiment, displayed the different level, and in used outside the ink, chose the golden paint to create. In the work explanation part, narrated the work creation which this paper listed to devise and to create the attainment. And in the final conclusion, explained my findings and the future forecast.水墨書法筆墨寫經ink paintingcalligraphypen and inkscripture-writing