中國寫意人物畫空間結構之創作研究

摘要傳統中國寫意人物畫最初是由簡筆人物畫發展而來，著重筆墨形式所蘊涵的氣韻。欲了解其空間結構的演變，除需認識寫意的本質外，還要從技巧、形式、意涵到審美，都在長期創作和反覆提煉中發現，線描表現是屬於民族性非常強烈的程式規範。本研究動機試圖從傳統寫意人物畫，以簡潔的線條形式，表現出人物傳神的內在精神，「形神兼備」的畫面空間結構所涵蓋的美學角度，來分析圖像的創作理念，學理基礎、主體內容、形式技法和整體表現。在理論研究方法運用文獻分析法、歷史研究法、創作品質分析法等，探討有關個人創作寫意人物畫空間結構的置陳布勢問題，目的加以客觀應用于實際創作，祈有更新的氣象，更新的形式風格出現。本研究主要目的為：一、藉由吳道子、梁楷的簡筆人物畫，其從美學、哲學、藝術史等多元角度，針對「寫意」、「空間」、「空間結構」等美學的探討，發展個人寫意水墨畫的創作理念。二、藉由美學、哲學等意境的理論探究，從傳統人物本身既有的線造型，再加上筆墨形式的型，經過佈局巧思、觀察概括，去展現融合西方人物畫時空背景的藝術創作，加以闡述影響中、西人物畫構圖的美學異同，或不同層次的意境。三、以水墨創作實踐鄉土寫意風格，驗證創作理念，轉化為多元性的空間結構，符合現代的視覺律動，期待更能掌握現代而開拓未來新寫意的無限空間。各章節重點如下：第一章緒論，分析本創作研究的動機與目的、研究方法與步驟、研究範圍與限制及名詞釋義。用圖文搭配方法對中國古代繪畫理論與繪畫美學，以個人的闡述論證、發現，進行深刻審視和分析。第二章文獻探討與圖像分析，首先探討寫意人物畫的意涵及其發展源流，而後論及空間結構之表現。第三章創作理念與創作實踐，主要闡述本創作研究之理念與實踐部分，到本階段創作寫意人物繪畫空間形式結構與表現，及創作時如何應用這些因素再延伸的方法問題。第四章創作品解析，試以《鄉土情懷系列》、《原鄉山情系列》、《詞解曲構系列》作品二十件，從創作理念、學理基礎、主題內容、形式技巧與整體表現的五個層面加以詮釋。試圖加以整體評析檢視與綜合。第五章結論，為綜結與未來創作方向之省思。本創作研究經美學、畫論、哲學、藝術史等深入探討與省思，對中國最古老的簡筆人物到現今水墨人物淋漓盡致的發揮，研究結果發現，現代水墨空間構成，共時性、歷時性、多元性的空間，已普遍交織在現代水墨人物的表現中，人與人羣像之間、人與物淋漓盡致的交融發揮。歸納幾項創作收穫與後續創作方針：一、「氣韻生動」，不祇是形象，必需導入意象的情感。人與人之間的互動，人與物之間的互存，物物相扣，帶動整體空間結構的靈動。二、在創作理念探討水墨人物空間布置，融合中國畫論及西洋美學有關理論，「意象」其實是畫家創作最先決的條件，而後動之以情，「情」，即感情移入，繪畫才有生命，所以繪畫創作，從意象到感情移入，到畫面多元的空間結構，是藝術品連繫的動脈，構成形式內涵與美感的價值觀。由此未來創作之方向期能將心靈與創作意化，藉由從事藝術創作，也能修養品德，回歸田園，回歸「真」，回歸「無」的境界，期待更能掌握現代而開拓未來新寫意人物畫無限空間的發展。

關鍵字

人物畫；寫意畫；寫意人物畫；空間；結構；空間結構

並列摘要

Creative Study of Spacial Structure in Chinese Freehand Brushwork Figure Painting Abstract Traditional Chinese freehand brushwork figure is developed from stick figure initially, focusing on the spirit contained in the pen and ink form. To understand its evolution in spacial structure, in addition to the nature of freehand brushwork, we also have to know the technique, the form, the meaning and the aesthetics. From the long-term creation and the repeated refinement, we discover that linear structure is a standard norm with strong national characteristics. This study aims to analyze the creation ideas, subject and content, form and technique and general presentation in traditional freehand brushwork figure painting, in which painters use simple and perspicuous lines to express the inner spirit of the figures, and whose spacial structure contains both spirit and form. The study approaches include document analysis, history analysis and creation quality analysis, in order to explore the problematic of spacial structure arrangement in personal freehand brushwork figure painting, in an attempt to create a newer style. This study is based on the following points: 1. By studying the stick figure painting of Wu Dao-Zi and Liang Kai, from multiple angles of aesthetics, philosophy and history, focusing on the aesthetic themes like “freehand brushwork”, “space”, “spacial structure”, to explore creation ideas about personal ink drawing. 2. Based on aesthetic and philosophical theories, from the existing linear structure of traditional figures with the form of pen and ink drawing, under the elaborate arrangement, observation and generalization of the painters, to demonstrate the creation combining Western figure painting and to expound the different and the same aesthetics between Chinese and Western figure painting composition. 3. To practice local freehand brushwork style with ink painting, to put creation ideas to test and transform them into multiple space structure in order to correspond with modern visual movement, in an attempt to catch the present and explore infinite space of future new freehand brushwork. Main points of each chapter are as follows: Chapter One Introduction: analysis of the motivation and the purpose of this study, study approaches and procedure, study scope and limit, and lexical explanation. Examination and analysis of Chinese ancient drawing theories and aesthetics, illustrated by pictures and texts. Chapter Two Research of Documents and Analysis of Pictures: exploration of the meaning of freehand brushwork figure painting and its development, and presentation of spacial structure. Chapter Three Creation ideas and practice: mailnly demonstrate the creation idea and its practice，and methodological problems about the application of these elements on creation. Chapter Four Analysis of works: in light of creation ideas, theoretical basis, theme and content, form and technique and general presentation, to analyze 20 works, including “Hometown Consciousness Series”, “Hometown Mountain Love Series”, “Poems and Songs Deconstruction Series”. A general analysis and synthesis. Chapter Five Conclusion: reflection on future creation. Through the exploration and reflection on aesthetics, drawing theories, philosophy and art theories, at the end of the study, we find out that the space arrangement, synchronic, diachronic, multiple space are interwoven in the presentation of modern ink figure painting, including the close relationship between individual and crowd, human and object. this study induces the creation results and the steps of the future creation： 1. “Spirit-resonance Life-movement”, in addition to the image, the painter also has to introduce emotion. The interrelationship between people, the coexistence of humans and objects, everything is connected, which leads to the movement of the whole space structure. 2. Combining Chinese and Western painting theories, to explore the space arrangement of ink figure painting. “Image” is the premise when a painter creates, after that comes “emotion”, namely empathy, and then the painting comes to life. From image to empathy and multiple space structure on the painting, this is the artery of an art work, which forms the meaning and aesthetic values. It is expected that future creation will be directed towards a combination of spirit and creation, to practice moral culture via artistic creation, and to return to the pastoral, to “truth”, to “nothingness”, in order to catch the present and explore infinite space of future new freehand brushwork.