秒忘的椎心之痛：顏妤庭的水墨創作

本文為作者2010年至2016年間的水墨繪畫作品及創作歷程的整理與回顧，藉由梳理與檢討過往的創作脈絡，以作為未來創作方向之參照。本文共分四個章節，第一章為研究背景與研究動機，第一節概述水墨繪畫自宋代起漸爲文人畫所主宰的成因，和以文人畫為主流的水墨繪畫發展至今的引響與困境。第二節陳述作者投入水墨繪畫創作的動機。第二章「創作與生活的沾黏」梳理過往作品的生長方式，重新省視繪畫創作與生活間的關係。第一節「秒忘的椎心之痛」描述為何以及如何以各式新聞片段為創作素材，藉由反覆拆解與編組，提供另一種敘事並探索繪畫本身的可能性。第二節以作品揭示潛藏於生活中的各式「荒謬悲傷的趣味」與「趣味中的荒謬悲傷」。第三章細探作品中的符號語言，陳述如何將傳統繪畫手法中的符號經由轉譯與再造，連結當代生活經驗。第四章分別探討形式與風格的嘗試與借鏡。第一節分析長卷此一東方特有的繪畫形式其所蘊含的時空思維與Tim Creswell的地方概念的疊合之處，以及作者長卷作品中的嘗試。第二節簡陳作品在空間經營方面與波斯細密畫之關係。第三節論及傳統民俗藝術對作品之色彩配置的影響。第五章結語，就至今的創作與研究作反省與總結。

關鍵字

當代水墨；膠彩；長卷

並列摘要

This paper is a review and reflection of the author’s ink paintings from 2010 to 2016. From reviewing and reflecting upon the trajectory of past work, this paper serves as a foundation for art creation in the future. This paper is divided into five chapters. Chapter 1 covers the research background and motivation behind this study. Chapter 1-1 states the reasons of how the educated class dominated ink paintings since the Song Dynasty and some of those influences as well as constraints as a result of that development. Chapter 1-2 describes the author’s motivation for being devoted to the creation of ink paintings. Chapter 2 deals with the development of past artworks from the perspective of “ink paintings and their connections to life”, shedding light on how ink paintings is related to daily life. Chapter 2-1 focuses on “excruciating pain which is soon forgotten”, and deals with repeatedly deconstructed news images and how they could be edited to become another narrative as well as how they could be explored in paintings. Chapter 2-2 reveals the so-called “ridiculously sad playfulness” as well as “ridiculous sadness among playfulness” in life. Chapter 3 explores the language of symbols in artworks and depicts how symbols in traditional paintings are reformulated and reconstructed to connect to the life experiences of modern-day individuals. Chapter 4 focuses respectively on the trials of form and style. Chapter 4-1 analyzes the similarities between forms and temporal-spatial philosophy of Asian paintings, Tim Creswell’s concept of space, and also the author’s attempts in long scrolls. Chapter 4-2 briefly describes the relationship between space management and Persian miniatures. Chapter 4-3 deals with the influence of traditional folk art on the use of colors. Chapter 5 reviews past artwork and also concludes the study.