「似與不似」的美學意涵於水墨畫之創作研究

本論文旨在研究「似與不似」的美學意涵，並將所獲得的觀念應用於個人的水墨畫創作實踐上。首先，就中國繪畫史做一縱向的溯源，使「似與不似」的觀念找到一個說明與詮釋的學理基礎；再以齊白石一生的繪畫創作，作為境界美學的繪畫藝術探討，並從中理解「似與不似」的時代性意涵；最後，透過筆者七幅代表作品進行反省與闡述，期能深入地說明「似與不似」的意涵，於筆者之繪畫理念確立的特殊意義。因此，筆者經由對「似與不似」的繪畫史溯源，結合其發展「意境美學」及對繪畫創作理念的確立，歸納並獲致以下重點，分別是：追求「忘形而不離形」的繪畫理想：此一理念源自晁補之「遺物以觀物」的觀點，因此創作貴在抓住「意」和「神」。其次是涵養「意在形外」的移情境界：此一境界即將詩境融入畫境，讓水墨畫境能達到「詩是無形畫，畫是有形詩」的情景交融境界。在繪畫實踐方面以體現平遠構圖的水墨畫心境：筆者以嘉南平原的景觀為主，分別為（一）水閘門景觀：這是以帶給嘉南平原生機的水圳為主要寫生對象。（二）平疇原野景觀：透過對嘉南平原多樣的農作物：如溪埔芒草、蕃茄、西瓜、蔗園的實地寫生，展現「似與不似」的數大之美（三）河流出海口風光：透過曾文溪流域及四草沼澤地沿海風貌，以平遠構圖方式畫出內心對故鄉景物丕變，心靈見景生情並詮釋意境之美。總結上述確立之繪畫理念，本研究達成四點水墨創作的發展方向：一、繪畫創作必須具有時代性：時代包含了傳統承襲與現代發展。筆者的大多繪畫作品雖取材於時代現實景物：如代表作品《蔗園餘暉》、《蕃茄採擷樂陶然》、《瓜園採鮮》等，筆者透過筆墨兼容方式，所追求的目標是在於「似與不似」的意境美學。二、繪畫創作必須符合生活經驗性：對繪畫者而言，生活的題材是既熟悉、又容易入手的。生活經驗性包括了審美的經驗，而審美經驗的累積有賴於畫家的親身深刻閱歷，如代表作品《閘門飲水現生機》、《紅樹林嗚咽之歌》都是筆者對周遭生活經驗所感，以「意在形外」之隱喻方式，達到「以簡馭繁」的水墨精神。三、繪畫創作必須具有象徵性：藝術的象徵性表達出美感形式的「共通感」，也才能緊扣觀賞者的心靈。在藝術的創作中，象徵代表一種創作風格的萌芽；象徵的特質可使生活經驗的價值凝聚成觀念、或時代的符號語言，並傳達出美的意義與內涵。如代表作品《濃郁花香吟秋風》即以象徵性的筆墨入畫，達到石濤所謂「不似之似」的我自用我法意境。四、繪畫創作必須具有主體能動性：畫家透過創作以呈現自己的個性，這也是主體能動性的表現。畫家以其獨特的繪畫語言來表達生活經驗到的人、事、物，畫家以「心眼」來傾聽，才能達到主客交融與「物我不分」的美感境界。本研究結論是：「似與不似」的美學意涵是全面性的，造形討論僅是其中的一部分，筆者將主要的心力放在造形的探討，以致忽略了用墨、用色上的意境效果，因此有顧此失彼的遺憾。不過，由於繪畫創作是一漫長的歷程，每一個學習的機會都能好好地把握，至於目前不足的缺失之處，則可留待研究所畢業之後，作為另一新階段的自我挑戰。

關鍵字

似與不似；意境美學；忘形而不離形

並列摘要

The objective of this paper is to study the aesthetic connotations of“resemblance and non-resemblance”in Chinese painting, and to acquire helpful concepts from this res -earch and further apply these to the practical drawing on personal creation . The aims of this research are presented as followings: Firstly , to investigate the historical background of Chinese painting vertically, and make the concept of “resemblance and non-resemblance”become explainable and interpre -tative on the basis of painting theory ; secondly, regard Chyi Bair-Shyr’s painting creation as a scope of investigation concerning the prospect aesthetics in painting’s art, and to understand the contemporary connotations within the concept of “resemblance and non-resemblance” . Finally, the author is reflecting and interpreting by means of seven representative pictures and expecting to explain the connotations of“resemblance- and non-resemblance”deeply. The ultimate purpose is to confirm a specific meaning of the picturing idea. Therefore, the author is reflecting and interpreting the origin of “resemblance and non-resemblance”in the history of painting and combines the development of “the beauty of prospect”and confirms the concept of painting creation ,which is induced as the following several points. We conclude respectively the statements as following : Firstly, to purse the picturing ideal of “forgetting the visible shape but still conscious of it later”. The idea comes from the view of Chaur-Buu-Jy’s “forgetting the surface’s object in order to intuit the real object”.So, the art’s creation is laying emphasis on the grasp of “indication”and “spirit”of the object’s shape. Secondly, cultivating the empathic prospect of “indication exists beyond the object”. This prospect mixes the poetic prospect into the picturing creation and makes brush in use and ink in use to attain the combinative prospect of manifestation of “poetry is an invisible painting, painting is a concrete poetry”. In the respect of painting practice, in order to show the composition of “flatness- far”on the Chinese painting, the author chooses the creative subjects of the Jia-Nan’s plain landscape and states those as the following respectively：（一）a floodgate’s landscape: The subject is to show the drawing objects of the vitality of the floating water in the river. （二）a plain landscape: To draw the various shape of crops, including the wild awn, tomato, watermelon and sugar cane etc. Through the visible drawing on the spot, the author is to spread out the beauty of the same object in many number. （三）The landscape of the export of the stream: Through the Tzeng-Wen stream’s basin and the swamp in the She-Tas along the features of the coast, the author can drawn the feeling that comes from the shift of the hometown’s landscape in the way of the composition; the author also can further interpret the beauty of the prospect existed in one’s mind for a long time. In short, the above-mentioned statements can provide us four conclusions in the direction of the development on the Chinese painting: 一、 The creation of painting must reflect the time’s meaning: The times include the inheritance of the tradition and the modern development. The most picturing of the author take the source material from the real scenery in the life: For example, the works of the representative《the sunset of the cane》、《the cheer of picking tomato》、《the pleasure in the field of melons》etc, the author mixes the brush and ink in use into one to show the effect, and the picturing aim is to attain the beauty of prospect of “resemblance and non-resemblance”. 二、 The creation of painting must correspond to the experience of life: The picturing subject of life is both familiar and easy for the most painters. The experience of life includes the experience of the appreciation, which depends on the accumulation of the painter in the practical activity of life, for example, the works of the represent -ative 《a floodgate appears the vividness》、《a redwood sings the sorrow》are the expression of the author’s feeling in the life, and to show the“indication exists beyond the object”in the metaphorical way, and to attain the inner spirit of “change the complicate into the simple”. 三、 The creation of painting must possess the symbol: The symbol of the art is to express the “common sense”of beautiful form, and is to lure the mind of the observer. In the process of art’s creation, the symbol represents the germ of a creative style; the characteristic of symbol can make the value of life’s experience into a concept or a sign in the times, and can express the meaning and connotation of beauty. For example, the work of《dense fragrance recite the wind of the fall》is the symbolic show and attains the prospect of “non-resemblance is back to resem -blance”in the aesthetic view of Shyr-Tau.’s paintihg theory. 四、 The creation of painting can make the activity of the creative subject: The painter reveals the personality clearly through the process of art’s creation. This is the show of the creative subject. Painters express the person、things and matters by means of his unique painting sign, and also listens to the existed objects, and mixes both subject and object into one to attain the prospect of “identity of I and non-I”. The conclusion of this paper is overall. The object on shape is only a part of the investigation of“resemblance and non-resemblance” Because of the author concentrates on the object discussed, the investigation of prospect’s effect is neglected in the respect of ink and color in use. It is pity for the author to deal one face but to lose another face. However, The painting creation is a lasting process. Concerning the unsatisfactory parts of this paper, which will wait for another stages of a new and challenging study after graduating from the graduate school.