多年前的異鄉學習之旅，在絲路虛幻時空般沙漠中，再度體現天地人合一般的習畫初心，在風沙中駱駝群叮叮噹噹的駝鈴聲單調而純美，孤寂又永恆，穿越了世代，帶領筆者追尋藝術創作的文化融合之旅。看著那黃金般沙漠中的綠洲，宛如盛唐時最輝煌的壯年歲月，如同人們最美好、最精華的時期，筆者努力地透過繪畫述說屬於自已的故事，陳述心境，用畫及時光串聯出黃金年代，嘗試以水墨藝術創作融合文化。
筆者經過比較研究中、西藝術家在駱駝及金箔、燒箔等各種元素的表現型態與意涵，納入原住民藝術美學與精神，從駱駝及絲路歷史時空及文化融合，做為個人創作的實踐。並融入臺灣歷史與異國學習的發展，選擇以駱駝及拼板舟代表時間和空間的穿透性，及視覺符號的象徵，以傳承傳統水墨精神、新的創作媒材與表現技法，表達筆者內心感受及傳達創作夢想。也就是想要透過象徵性的表現技法，結合金、銀、銅、宣紙材料，及東方礦物顏料、植物顏料來呈現創作。並在不同領域上研究與創新，臺灣是一塊寶地，希望將臺灣的文化及目前所擁有的資產留給下一代，讓豐富的臺灣文化資產及藝術產業能延續下去。

Many years ago, the journey of study in a foreign land, in the desert of the imaginary time and space of the Silk Road, once again reflected the original intention of the world and the people in the common sense of the painting. In the wind and sand, the camel bells of the camel groups were monotonous and pure, lonely and eternal. , Leading the author to pursue a cultural fusion journey of artistic creation. Looking at the oasis in the golden desert, just like the most glorious years in the prosperous Tang Dynasty, just like the most beautiful and elite period of people, the author strives to tell his own story through paintings, state his mind, and use paintings and time to connect In the golden age, try to integrate culture with ink art creation.

After a comparative study of the expression patterns and meanings of Chinese and Western artists in camels and gold foil, burnt foil and other elements, the author incorporates the aboriginal art aesthetics and spirit, from the historical time and space and cultural fusion of camel and silk road, as a personal creation practice. Incorporating the development of Taiwan’s history and foreign learning, I chose to use camels and jigsaw boats to represent the penetration of time and space, and the symbol of visual symbols to inherit the traditional ink spirit, new creative media and expression techniques to express the author’s heart. Feel and convey creative dreams. That is to want to present the creation through symbolic expression techniques, combining gold, silver, copper, rice paper materials, and oriental mineral pigments and plant pigments. And research and innovation in different fields, Taiwan is a treasure, hoping to leave Taiwan’s culture and assets currently owned to the next generation, so that the rich Taiwan cultural assets and art industry can continue.

參考文獻

一、專書

何懷碩，《近代中國美術論集》，台北市：藝術家出版社，1991。
周來祥、周紀文，《美學概論》，台北市：文津出版社有限公司，2002。
陳朝寶，《他的繪畫藝術世界》，台北市：悅寶文化事業股份有限公司，
2005。
莊連東，《彩轉》，彰化市：國立彰化生活美學館，2017。
傅佩榮，《哲學與人生》，台北市：遠見天下文化出版股份有限公司，
2018。
劉其偉，《原始思維與創作》，台北市：國家圖書館，2002。
《聖經和合本-上帝版》，臺灣：中華民國聖經公會，1991。

二、網路資訊

馬致遠，《天淨沙-秋思》，錄自古詩詞網 2018年9月。
網址：www.mmtw.cc/3097.html。
衝撞與協商----李振明水墨語言的當代突圍 文/ 莊連東 | 惰逃齋-李振明
網址：jimili1955.blogspot.com/2017/10/blog-post_10.html。
顏水龍，《臺灣原住民圖書資訊中心部落格》，走進公眾．美化臺灣顏水龍
展覽介紹與原住民主題畫作欣賞。
網址：tiprc.apc.gov.tw/blog-wp.654。