莊連東Lien,Tung.Chuang葉美櫻Yeh,Mei-Ying2020-12-102012-8-122020-12-102012http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0098603116%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115050樹木向來為中國山水畫之重要構成與主題，具有讓生命更加華麗與活潑之功能，亦為詩人騷客抒發自我心性與情感的重要媒介。本研究以『從樹木體現出生命力量』為題，但捨傳統水墨的松柳而採台灣隨處可見的白千層樹、黃槿、木棉花樹、白榕樹等為構圖主角，用五幅大尺寸的樹木畫品創作來表達作者對週遭自然生態的關懷及生命熱愛的意境。此五幅大尺寸的樹木畫品創作分別取名為：(1)生命的樂章、(2)樹木如人生百態、(3)生命不斷實現夢想及求生存空間、(4)生命呈現最繁華黃金時代最高峰時期、(5)生命最後歷經歲月催化對生命自然尊重。本論文首先分別從思想史及藝術史出發回顧/探討生命意義及其價值，再回顧/介紹現代與當代中國水墨畫家他們對於樹木的畫法及美學表現。本樹木畫品創作則主要以歷代中國水墨發展為出發，同時輔以作者對近代以來水墨的了解，經由東方美學的理念與西方的視覺藝術相互融合後，直覺於或說轉化與默會於實地寫生的創作中。研究過程中，透過近現代中國水墨畫家論樹木造型姿態的文獻搜集、實際深入觀察行道樹木之實地寫生與創作靈感。從中領會水墨寫生的種種視覺之意象及對樹木的感動。在創作上着重在”經營位置”及”皴法與肌理”。以”經營位置”來影響整體畫面的氣氛感受，布白的考量更是帶動氣體流動的重要因素，本文從布白的兩種觀點作探討，一是虛中有實、實中有虛的觀念，二為疏可走馬，密不通風的觀點，試圖在留白與密實間取得平衡。皴法與肌理係掌握樹木的基本構成和組織程式參考古人畫樹/石方法將其融入現在的創作。最後，透過個人作品之創作與詮釋。說明創作理念的分析，進而作品實踐的呈現，並探討個人創作的美學思想內涵與形式表現，審視個人對水墨的創作。Trees always play an important role in classical Chinese landscape painting, trees are the symbols of fulfillment and vigorousness of lives. And poets favored the trees by depicting their affection and self-essence. In the research “Vitality realization and interpretation via Chinese Trees Painting”, the author expresses her appreciation of concern of environment and the passionate love for lives via Taiwan’s native trees, such as Cajueput-tree, Malvaceae, Bombax ceiba and Ficus benjamina instead of the traditional pine or willow. The five large-scale painting of trees were named as following: 1. The chapter of lives; 2. The metaphor of trees in the different stages of humans lives; 3. The continuous achievement of dreams and surviving tactic for space; 4. The summit and glorious moments of lives; 5. Unification: The last stage of lives and the respect to nature. First of all, the author prospects the meaning of lives via Chinese Philosophy and arts, and then appreciates the drawings and esthetics of trees by the contemporary artists of landscape paintings. The author’s initial attempt about trees starts the development of Chinese landscape painting together with the understanding of contemporary landscape painting; combined the oriental concepts and western visual arts into the artwork of the author. During the creation procession, the author screened the contemporary textbooks of trees among the landscape painters; observed the sidewalk trees along the road, obtained the inspiration by numerous field trips and perceived the impacts of trees in landscape painting. The emphases of creation are posture and overall composition of barks; posture is the atmosphere of the painting; while blankness is the soul of movement of flow. The prospective of blankness, one is something in nothing or nothing in something, and the other one is intensity and density, maintaining the balance between blankness and density. The overall composition of barks is the highlight of trees; the author transferred the tree drawing skill of ancient landscape painters into her own creation.中國水墨畫樹木生命力量皴法與肌理Chinese landsape paintingtreesvitalitythe overall composition of barks