王友俊教授何懷碩教授You Jun WangHo Huai Shuo沈政乾Zheng Qian Shen2020-12-102013-8-192020-12-102013http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0894600151%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115579繪畫創作乃不斷地探索活動，隨著畫家的個性、偏好與素養秉著創新的原則，不停地前進。然而，透過專題式的創作研究，除了必須收集大量的創作素材外，作品的深入經營更是重點。而理論的研閱與整理，表現技法的嘗試與開拓更為一項重大考驗。筆者擬藉由相關文獻理論之探討並結合實際創作雙軌並進，以期達到理論與創作兼顧，理性與感性交融之創作研究目的。 本創作研究論文以「邊緣‧漠視－荒蕪意象之水墨創作研究」為主題。主要以社會底層族群與鄉土邊緣題材做為創作系列內容，表現技法則應用工筆淡彩技法表現，並以茶葉水替代顏色烘染畫面，營造荒蕪、蕭瑟、寂靜之畫境。論文共分六章，依序為第一章：緒論。第二章：邊緣社會與底邊階級之緣起。第三章：邊緣意識與水墨創作思維之探討。第四章：個人創作思維與表現形式。第五章：個人創作實踐與作品賞析。第六章：結論。 本論文探討內容主要包括三個重點：一、藉由美術史、畫論及社會學等相關文獻之研閱探討，進一步認識創作題材之內容、特性及內涵以做為創作之參酌。二、透過歷代畫論之整理分析與研究並結合個人創作實務經驗，對傳統筆、墨、色、水運用之優缺點深入了解，以做為創作時之檢省與參考。三、利用實地觀察與美學之研閱探討了解底層群眾與與鄉土邊緣題材本身的特性及其所本身蘊含之美感，以做為作品畫意探索與營造之參照。 繪畫創作乃無止境之追求，執著與毅力為持續探索的動力，持之以恆、鍥而不捨是成功的要件。此次創作研究主要以鄉土中平淡而不起眼之邊緣題材及底層民眾做為描寫對象，並捨去以往筆者慣用之水墨表現技法，代之以工筆技法表現。透過新的題材與技法之嘗試，營造新的畫意，達到化腐朽為神奇之目的，並藉由創作研究以表示對台灣底層弱勢民眾與鄉土之關懷！Drawing is an act of endless exploration. Following the artist’s personality, preferences, and capacity and holding onto the principle of innovation, the exploration marches onward. However, through project creative studies, in depth management of the works is even more important than collecting a large number of creative materials. The study and organization of theories and the experimentation and development of techniques are major challenges. The author plans to discuss related theories and literature and combine them with actual creative process. It is hoped that theory and practice are both achieved, thus reaching the goal of melting sense and sensibility in works of art. This dissertation is titled “Fringe/Indifference--A study of ink creation of desolate images.” The subject of this series of creative works is primarily the people at the bottom of socioeconomic strata and those on rural fringes. The technique used is fine brush with light colors. Tea is also used as a substitute for paint in relief shading to create the feel of desolation, bleakness, and stillness. There are six chapters in the dissertation. Chapter one is the introduction. Chapter two discusses the origins of fringe society and the underclass. Chapter three is on the concept of fringe and the discussion of the thought process in ink creations. Chapter four is about the author’s own creative thoughts and how they are expressed. Chapter five is the creation of the works and their analyses. Chapter six is the conclusion. There are three main topics of discussion in the dissertation. First, from studying the literature on art history, theory of painting, and sociology, the content, characteristics, and nature of the subjects are better understood in the creative process. Furthermore, the advantages and disadvantages of pen, ink, color, and water have been deeply explored to serve as guides and references during the creative process by combining the analysis of past theories and the experiences of past creative processes. Lastly, field observations and esthetic explorations have been utilized to understand the intrinsic characteristics and beauty of the underclass and rural fringe subjects, which are used as references of the works’. Painting is a limitless pursuit. Perseverance and patience is the key to success. The subjects of this creative study are the fringe subjects of rural mundaneness and the underclass. Fine brush technique is used in lieu of the author’s usual ink painting. Through new subjects and attempts on new techniques, new pictorials are created. The author also wishes to express care and concern for the rural land and the underclass in Taiwan.邊緣漠視荒蕪鄉土fringeindifferencedesolationrural