虛實光影於彩墨山水畫之創作研究

本文旨在探討虛實光影於彩墨山水畫之創作研究，係從大自然的意象出發，以彩墨詮釋山水畫「虛實光影」跡象在繪畫創作中的寫生表現，並探索藝術生活各式光影在景秀山水中立體、空間感、含深廣度以及層次感之存在應用。藉由綜合美學理念及創作實踐之驗證，期望理論與實務相輔相成。本論文共分為五章。重點概述如下：第一章為緒論，分別為研究動機與目地、研究方法與架構、研究範圍與限制，以藝術史研究法、作品分析法、品質思考創作研究法印證本研究的重點與發展性。第二章首先探究中國傳統理論對虛實光影之看法，其中包含觀念形態源起、虛實光影制約、筆墨辨識形質陰陽及敷彩設色表現等子題。進而從中西繪畫光影形態之探討中，比較透視法及意象色彩在畫面空間的運用，最後藉圖像分析當代水墨畫家運用筆墨、以西潤中的表現章法營造出光影視覺動力的美感。第三章著墨於創作理念與實踐，首先闡述光影藝術之意境探釋，汲取形、色、光之特點融通，應用不同以往的媒材形式與光影的質感表現，融合「虛、實」所建構之美學思維淺談光與影的對話，以對景創作的審美觀來探尋隱涵自然視覺的動向。第四章則為創作品詮釋解析，將筆者學習歷程及研究期間之創作品各階段創作概述，再從本創作研究中，挑選七件系列作品，分從創作理念、學理基礎、內容形式、材料技法、總體表現等五個層面加以解析。第五章則為創作研究之心得與結論，以及後續創作方向之期望與理念的省思。本研究經論文與系列作品之理論和創作實務交互探討後，歸納出以下結論： 1、經由文獻與圖像作比較研究，以前人畫論、文獻為經；中、西歷代留存的藝術作品取樣為緯，建構出個人學理基礎與創作理念，及其對於後世虛實光影創作應用的對照關係與影響。 2、在創作理念中藉由對中國畫當代性的思考與探索，個人創作品能表現出中國畫意象且與西方自然主義的審美元素能形成共感。 3、在創作實踐中累積經驗找尋風格，畫面中加入光線以營造吸引觀者目光的氣氛，以在光影所呈現的強光、倒影、陰影等為創作構成主軸。 4、構圖採對景創作，畫面結構的平面分割及傳統的「布白」、「均角透視」、「散點透視」等及實驗水墨抽象式構圖等均無法表現。色彩視覺上的表現性較強，意境的氛圍相對較弱，較缺乏主觀本體色的自我抒發表現。研究發現與收穫：光線不斷變動－閃爍、明滅、突發，交錯的光影在構圖中運用軌跡，可以反應出實中有虛；虛中有實的景象來，有效地營造了畫面的動感。著墨時運用素描工夫與調和金、銀色來深入刻劃光影的反光及高光處，可以跳脫傳統突出整體設計效果。後續創作研究與發展方向：將以虛實光影之研究心得為基礎，朝向多元性風貌之題材與多樣性媒材的發展，再踏實專業基本工夫之鍛練，提高造型能力及專業的表現技法，才能培養出自己發現題材、意境、特徵及美感等方面的能力。經過本次的創作研究，身心實地寫生是研究自然和認識美的最好途徑；要體現即時性，只靠照相機的浮光掠影和走馬看花，很難發現自然美的真諦。從寫生中直接段練和培養個人速寫、深入刻畫及想像畫能力，從自然形態向藝術形態轉化，使作品呈現設計感之創作觀。筆者深刻地領悟到學習西方的藝術是為了豐富自己，期許自己在未來的創作上，結合東方韻味的意境進一步研究虛實光影於彩墨花鳥畫，進而實驗出個人獨特的藝術風格。

關鍵字

虛實光影；彩墨畫；山水畫創作

並列摘要

This research intends to examine the application of light and darkness on color ink landscape painting and how the tangible and the intangible are performed through the arrangement of light and shade in paintings. In landscape paintings, distance, space, depth, and layers of physical scenery must be performed lively by means of well-managed light and shade. It is expected that with aesthetics theory and creation practice, the application of light and shade on color ink landscape painting can achieve a higher level. The first chapter, introduction, includes research purpose, research method and structure, field and limitation. Deep analysis and comparison of Chinese and the Western art works and art history are conducted on the basis of preceding studies to indicate direction of this study’s development. Traditional Chinese theoretic perspectives toward light and shade, including the origin of this art form, limitation on application, differences between Yin and Yang, and the usage of colors, are examined in the second chapter. Comparison of color management in paintings between Chinese and the Western and analysis of contemporary artists are conducted to suggest the application and integration of Western painting techniques to Chinese landscape paintings and how three-dimensional scenery can be performed on a flat material such as cloth or paper. Then theme of creation and creation practice are presented. In the creation practice section, the author combines and integrates the significance of forms, colors and light and tries to indicate visual flow of the picture. The presentation of “ real” and “unreal” through arrangement of light and shade and how different materials present light and shade is discussed. Chapter four focuses on creation analysis and interpretation. Seven pieces of creations by the author are examined and analyzed from the perspectives of theme, theory, content and form, material and techniques and overall presentation. Conclusion is the final part. It is the author’s own expectation to combine the essence of art from both Chinese and the West to create author’s own unique art style. Light reflection and shade are three main elements of author’s creations. It is found that high light, which is the key to drawing watchers’ attention, is particularly stressed in the Western landscape painting. As light flashes alternatively, the tangible/ physical objects and intangible atmosphere and feelings are performed vividly and lively. Blend of sketch techniques with shining colors, like golden and silver, is applied by the author to perform high light and light reflection, and overall presentation becomes more vivid. For the research aspect, the rich material in both Chinese and the West art history and culture prepares the author for the establishment of new creation style and better management of space arrangement and material application. Literature review and creation analysis lead to the awareness of the fact that deeper research and understanding of tradition is vital to better application flight and darkness on color ink scenic painting. It is deeply perceived that the very basic techniques such as sketch are essential to the development of capability to perceiving the beauty and the mind of the nature because the essence of the mother nature cannot be caught and perceived simply through one or two shots. With refined skills and techniques, better and deeper observation of the nature, and innovative painting materials, art creation is expected to achieve a higher level and build the linkage between the old and the new.