臺灣海岸地形水墨創作之「筆法」研究

臺灣海岸地形水墨創作之「筆法」研究摘要本文旨在「臺灣海岸地形水墨創作之筆法」研究。試圖從傳統筆墨中，體現台灣岩岸之岩石肌理於水墨畫中之筆法表現。藉由理論探討及個人實地觀察，並加上繪畫實驗之驗證，企期探討筆法在畫面上所呈現之面貌。本研究論文共分為五章。其概述如下：第一章為緒論，提挈研究動機與目的、研究方法、研究步驟、研究範圍及研究架構加以論述。第二章乃為探討前人之相關研究，並針對相關論述加以分析檢視，以此闡釋筆者之研究與前人相關研究之相異處；引前人之相關文獻探討筆法之定義與內涵，再藉以儒家之審美觀運用於筆法的創作之上，且探討中國文化中書畫同源之奧妙，期於此理出自我創作之方向與思緒。第三章則為創作理念與實踐部分。根據筆法所闡述的美學意涵中，探討水墨畫寫生之意境、筆與筆之間的關係、筆與形體、虛實之關聯，闡述水墨畫於文化發展中之定位與重要性，並於筆法中融入創作地點之地域性、時代性及畫家個性；藉由「心」及「物象」之組合將「自然美」轉換為「藝術美」，且引用儒家之審美觀來創作，更藉「書畫同源」之理論來提升用「筆」之多樣性與美感，以達「去俗出雅」之境界，並依據筆者之筆法特質來印證本研究理論，堅持「古為今用，推陳出新」，重視傳統而不泥守舊法，希冀藉由傳統理論來豐富筆者之藝術實踐。第四章將針對作品之實踐與解析加以總整且加註提要說明；並從七件代表作品中分析「創作理念」、「學理基礎」、「內容形式」、「材料技法」、「總體表現」等五項，藉以歸結出筆者於論文中探討之「四性」即民族性、地域性、時代性、畫家個性與「筆法」相應證之作品。第五章為結論與省思。中國繪畫光輝燦爛源於幾千年來民族文化的發展、結晶。從內容到形式，從風格到意趣，從材料到技法都要創新，但創新應以傳統為基礎，更需充分發揮中國畫之特長、優點，保有民族文化特色與學術見解，企圖藉由此次研究能引發筆者未來延綿不斷的創作動力。關鍵字：筆法、書畫同源

關鍵字

筆法；書畫同源

並列摘要

The Study of the Creative 「Techniques」 Used in the Chinese Painting of the Contour of Taiwan Coast Abstract The objective of this paper is to study“the Study of the Creative techniques Used in the Chinese painting of the Contour of Taiwan Coast”, and tries to show the rocky appearances on the rocky coasts of Taiwan within the application of brush in use and ink in use from the traditional techniques of brush .The endeavor is expecting to acquire the performance in the technical practice of brush through the investigation of theory, the concrete observation of self and the test that corresponds with the painting operation in the ordinary life. This essay is divided into five chapters. Stating them briefly in the following: Chapter one is an introduction, including the outline of motives, purposes, methods, stages, domains and the structures of research etc, and discussing them deliberately. Chapter two is to investigate the references of previous scholars in the painting theory, and testifying those statements of theory through the analysis of self grasp, and directing a new possibility of interpretation by comparing the differences of self and that of previous results; Furthermore, this chapter can study the definition and connotations of techniques of brush by means of the quotation of previous literatures, and searching how to interpret the applicative and creative process of painting by adopting the aesthetic view of Confucianism as well, and also looking for the mysterious meaning of“the origin of painting and techniques of brush in identity”in Chinese painting. The author is looking forward to finding the creative direction and standpoints by this. Chapter three relates the discussion of creative ideas and practice. According to the interpretive connotation of esthetics within the techniques of brush, the author tries to investigate the relation of sketch prospect on the operation of painting, brush and brush in use, brush and shape, emptiness and factuality, and in the meantime explaining the location and importance of painting that lies on the development of cultures, and combines the brush in use with the regionalization, the times and the personality of author into one. What is more, the author tries to transform“the beauty of nature”into“the artistic beauty”by combining of“mind”and“image of an object”into one, and adopting the aesthetic view of Confucianism and the theory of“the origin of painting and techniques of brush in identity”to enhance the diversification and a sense of beauty, and to attain a prospect of“a grace appearing from a vulgar”,and the brush technique of author just testifies the given theory of this essay, which persists a principle of“ancient theory used by modern times”,“the new appearing from the old”and paying attention to the tradition but not to be tied again, and hopes to enrich the artistic practice of author by the traditional theory. Chapter four is directing on the explanation of the practice and analysis of works that have been remarked wholly by the author, and to analyze the connotation of“creative idea”、“theoretical foundation”、“contextual form”、“material technique”、“whole performance” etc, and further concludes so-called“four properties”,namely, nationality, regionalization, contemporary and personality of painter that testify with the brush technique of author one another. Chapter five is conclusion and reflection. The Chinese painting has been developed a particular culture and national results for several thousand years, which is founded on the tradition and is revived from context to form, from style to implication, from material to technique. But the modern learners further need to develop the characteristic and merits of Chinese painting, and to keep the national character and a academic standpoint, and attempting to guide the author to develop the creative force constantly in the future. Keywords：techniques of brush、the origin of painting and techniques of brush in identity