山水畫是東方特有的造形藝術,本研究從基礎造形的角度切入,將山水畫視為結構性的圖像造形,以系統化程序性的方式解構山水畫。藉由歸納之形狀文法與動態規劃法比對,可以客觀而明確的分析比對山水畫之造形特徵與差異處,亦可作為相關設計人員進行造形分析的思維工具。研究成果之山水畫文法與造形特徵描述,可成為造形分析研究的基礎模型,擴展至視覺設計或圖像藝術領域的造形歸納分析。 本研究發展的系統化山水畫形狀文法,可以明確地描述山水畫的結構造形特徵,能分析比對於山水畫的重要構成元素,包含樹、石和構圖的造形。接著以南宋知名畫家夏珪與馬遠的畫作為例,利用山水畫形狀文法分析歸納後,所得的造形特徵描述能客觀地印證畫家作品中「一角」與「半邊」的風格特徵。此外,我們分析南宋與北宋的畫作比對其造形描述後,亦發現繪畫風格的差異。研究成果顯示,山水畫形狀文法的操作有助於研究者解析山水畫的結構,掌握其造形特徵。
Chinese ink painting is a special form of art representing oriental culture. In this research, a procedure based on shape grammar and dynamic programming is proposed to analyze the structure of Chinese ink painting. The basic elements and features of a paintings are extracted to form descriptions which can be compared and induce the characteristics of paintings. The proposed shape-grammar-based model can be used as a formal and structural tool for analyzing the conceptual art form of Chinese ink painting. The descriptions of paintings reveal the structural composition of trees, rocks and objects. By inducing the descriptions derived from paintings of Hsia Kuei and Ma Yuan, the personalized “corner” and “half” styles are discovered. The styles of paintings of Southern Song and Northern Song Dynasty are also inferred. The result indicates that the shape-grammar-based model for Chinese ink painting is a helpful analytical tool for studying the structure and relations among basic elements in the paintings.