水景創作之靜觀與構作研究

本文以水景創作之靜觀與構作為研究主題，在創作過程與主體思維一體化的原則基礎上，從自然寫生到簡化為創作具體作品的原則，本文提出以實際作品發想、實施，分析和討論寫生取景與實際創作思維發動之內、外創品的連動關係。文中又以作者自身得獎的作品為討論對象，並以作品圖示分析法梳理作品理念和形成技術媒材表現方法，相互對照並進行剖析，還原創造歷程中之內外創品的理路形成。文中討論以心為主體所發動之「靜觀」和「構作」的經驗整合，二者既是內外運作，又彼此連動，可化解內容與形式的衝突，因此被視為創作時因應自然寫生的之折衝，其關係實不可言喻。本文以水景創作之「靜觀」和「構作」，舉證形成創作內外創品所需的專注和統整等方法，用意導向與作品主旨相連結之觀察及義蘊的合一原則，最終印證由主體整合的美感經驗，才能對應創作客體的雜多性，並與創作思維達成契合的一體性。

關鍵字

水景題材；靜觀；構作；一體性

並列摘要

This paper takes the contemplation and structure of waterscape creation as the research theme. On the basis of the principle of integrating the creative process and the main thinking, from natural sketching to simplifying the principle of creating specific works, this paper proposes the idea, implementation, analysis and discussion of actual works. The linkage relationship between sketching and framing and the actual creation of thinking, internal and external creations. In this article, the author's own award-winning works are used as the object of discussion, and the concept of works and the expression methods of forming technical media are sorted out by the method of graphic analysis of works, and they are compared and analyzed to restore the formation of internal and external creations in the process of creation. The article discusses the experience integration of ＂contemplation＂ and ＂construction＂ initiated by the mind as the main body. The two operate both internally and externally, and they are linked to each other, which can resolve the conflict between content and form. Therefore, it is regarded as a way of sketching in response to nature when creating. The relationship is indescribable. This article uses the ＂contemplation＂ and ＂construction＂ of waterscape creation to provide evidence to form the methods of concentration and integration required for the creation of internal and external creations. Only the aesthetic experience of subject integration can correspond to the multiplicity of creative objects and achieve unity with creative thinking.