研究生: |
陳昀翊 Chen, Yun-Yi |
---|---|
論文名稱: |
玄石幻影—陳昀翊水墨創作論述 The Darken Stone in Illusion-the Ink Painting Discussion by CHEN, YUN-YI |
指導教授: |
莊連東
Chuang, Lien-Tung |
口試委員: |
孫翼華
Sun, Yi-Hua 陳炳宏 Chen, Bing-Hong |
口試日期: | 2021/07/05 |
學位類別: |
碩士 Master |
系所名稱: |
美術學系 Department of Fine Arts |
論文出版年: | 2021 |
畢業學年度: | 109 |
語文別: | 中文 |
論文頁數: | 95 |
中文關鍵詞: | 玄石 、山水畫 、直觀性 、幻影 |
英文關鍵詞: | Landscape painting, The intentional from giving acts, unreal Illusion, Darken stone |
研究方法: | 行動研究法 、 現象學 |
DOI URL: | http://doi.org/10.6345/NTNU202101105 |
論文種類: | 學術論文 |
相關次數: | 點閱:115 下載:0 |
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在這個世代中,人類生活在都市中,有如囹圄中的動物,很少有機會可以回歸大自然,山水對於我們是很遙遠的,甚至比網路世界還要更虛擬,筆者深陷在這個沒有自然的監獄。對於筆者來說山水畫是一個精神寄託的地方,卻也是一個不現實的幻影。筆者將自身感受利用創作表現,將山水畫的不現實感呈現出來,訴說當代人與自然的距離與反思。筆者研究所的創作母題為「玄石」,在這個母題下分出四個子題,分別為「朱色」、「青色」、「末日」、「靈獸」等系列。「朱色」時期中,表達剛進研究所在找尋個人創作風格和山石的本質性,一切都毫無線索的感受,創作模式主要以逆思考法、幾何化、簡化為主「青色」時期中,主要以找到方向的開闊心情做描寫,將山水令人暢神的感受表現出來,創作模式以媒材異質交叉使用、平面化為主,顏色上多於朱色時期的呈現,以青、綠、金為主要用色,在「末日」時期,表現心中的陰鬱情緒,加入筆者對於末日的想像,創作模式將前兩個系列的技法做交叉運用,「靈獸」系列是筆者將想像的幻獸放入到畫面中。前述每一種系列都在訴說著筆者對於山水中令人鬱悶、暢神、陰鬱、虛幻的特色,如同網路世界,我們在網路上所得到的感覺也是多面向的,如同社會,令年輕世代期待、失望、無感。
本研究中第一章是筆者對於山水畫的看法以及創作希望達到的目的;第二章則是將山水中的精神性與本質性作一個探討與研究,古人是如何在創作中提煉出畫論論點,其中的體悟在現代中可以視為直觀性,而直觀性中的心理活動是如何,進而轉化成畫面中的幻象,並提出四位藝術家是以圖像學分析法,探討其作品以及對筆者的影響;第三章以「玄石幻影」進行創作的解析與模式的分析,並分解創作步驟;第四章則是將創作作品做出個別的論述;第五章結語則是研究的成果與未來展望。
In modern word, more people are choosing to inhabit in cities. To a city dweller, the concept of nature can seem distant and foreign as the hustle and bustle of a metropolis and the expansive freedom of the internet can keep people shut in like an animal in a zoo. It is with disdain that I must admit, I am also deeply confined to this natureless prison. To sustain my craving for the outside world, I have turned to landscape art. My art not only reflects the distance between modern society and nature, but also provides me a medium to express my emotions. The primary element of my work throughout graduate school is “Darkened Stones,” which is shared in a four part series representative of my working timeline: “Imperial Red”, “Turquoise”, “Apocalypse”, and “Spiritual Beast”. “Imperial Red” is a reflection on the clueless feeling I experienced as a freshman, and to convey unmindfulness, I predominantly utilized reverse thinking, geometrization and simplification. These techniques were fundamental in searching for my personal art style and understanding the innate nature of mountains and rocks.“Turquoise” focused on the relief I experienced after finding my artistic direction, and it was expressed through the comfort of mountains and rivers. The work during this period included more colors, such as blue, green, and gold, than those used during the “Imperial Red” period. “Turquoise” utilized complanation and mixed media as the primary mode of creation. “Apocalypse” combined the methods used in the previous two periods to convey the gloom within me, and finally the “Spiritual Beast” period focused on reifying the illusionary beast which I constantly imagine. The goal of all four sub-themes was to show the array of elements - unhappiness, gloom, calmness, and illusion- that I observe in the mountains and rivers. The kaleidoscope-like nature of mountains and rivers is also inherent to the internet and society, where we are able to receive various sensations and where the younger generation can experience aspects of life such as hope, disappointment, numbness, and more.
The first chapter of this research is the personal opinion on landscape-art which I held and the objective of my artwork. In the second chapter, I discuss 3 topics.1、The spirituality and essence of mountains and rivers.2、 How our predecessors extract art theories, which can be referred as “the intentional form-giving acts the modern world, from the process of creating arts and how these “acts” were transformed into the visible illusions.3、 An analysis on four artists’ work with iconology and how their work affected me. The third chapter analyzes the mode of creation I used to make “Darkened Stone Illusions”; this chapter also step-by-step breaks down my creation processes. The fourth chapter included detailed descriptions of the theories and incentives behind each of my work. Lastly, the fifth chapter is the statement I wanted to make prior to my graduation, to conclude all the reflections I gained from this period of learning and creating.
參考文獻
一、中文書目
白丰中,《醉月觀花—白丰中彩墨藝術專輯》,彰化:彰化生活美學館,2018。
埃德蒙德‧胡賽爾(Edmund‧Husserl),譯李光榮,《現象學》,重慶:重慶圖書出版集團圖書發行有限公司,2006。
郭熙;魯博林譯,(山水訓),《林泉高志》,南京:江蘇鳳凰文藝,2015。
莊朝根,《最新標準字典》,台北:國語字典編輯委員會,2006。
張永村,《張永村回顧展》,台中:台中市大墩文化中心,2018。
畢普賽維克(Edo・Pivceic),譯廖仁義,《胡賽爾與現象學》,台北:桂冠圖書股份有限公司,1986,
康德(mmanuel Kant),《判斷力批判》(上),北京:商務印書館,1964。
張永村:《張永村回顧展》,台中:台中市立大墩文化中心,2018。
梅洛龐蒂(Maurice Merleau‧Ponty),龔卓軍譯,《眼與心》,台北:典藏藝術家庭股份有限公司,2019。
陳傳席,《中國繪畫理論史》,台北:三民書局股份有限公司,2014。
蘇珊‧朗格(Susanne‧K‧Langer)著,劉大基、傅志強、周發祥譯,《情感與形式》,北京:中國社會科學,1986。
二、西文參考書目
Erwin・Panofsky,《 Meaning in the Visual Arts》,NY:Doubleday&Company,1955。
三、學術論文
張省卿,1997,〈藝術史學科的創立-德國藝術史學巨擎瓦堡〉,《藝術家》,第265期,頁438-448。
四、報導新聞
《香港商報》:林濤,2016,〈與靈魂對話:近代中國通靈學說何流行?〉,2016年10月20號。
五、 網站參考
非池中,【交織著,以某種距離】2014吳尚邕創作個展https://artemperor.tw/tidbits/1402,檢索日期:2021年7月22日。
微信,張益昇個人網誌,〈20202創作感想〉https://mp.weixin.qq.com/s/9GXBXjG1aVduCqL9I55OJQ?fbclid=IwAR2DEdIfRb4usPdFJ8i25P1__UXTva-WBu0nz-2khlTQe52XR8vnioUicEI,檢索日期:2021年7月22日。