中國彩墨女性人物畫之創作研究

本創作研究主旨在針對中國繪畫發展過程當中，彩墨女性人物畫所表現出的中國華夏文化特色及其對於整個中國繪畫領域的影響及自身的演變來加以討論。在文字研究部份，希望藉由對於整個中國彩墨女性人物畫的演變及創作發展過程來了解當時的時空背景所形成的女性審美觀，及當時對於社會禮教的規範等等的文化與社會經濟等因素對於後世的中國繪畫所造成的影響。在創作實務方面，以過去前人之相關理論及創作經驗為基礎，並以東、西方兩種相異的繪畫觀點來加以比較，從中獲得個人的創作理念與發展空間，做為筆者個人在創作方面的發展根據，並且進一步發展出屬於筆者個人的創作特色。本創作研究的理論建構主要運用「理論分析法」、「藝術史研究法」及「品質思考法」做為研究方法，同時針對個人的創作成果來做「創作實踐之結果探討」，以檢討的方式來了解個人創作在過程與成效之間是否有達到預期目標及所產生的效果為何。本創作研究之目的總括而言有以下幾點： (一)、經由對於中國文化發展歷史的探討，了解中國彩墨女性人物畫在創作風格及技法方面的演變及其形成之原因。 (二)、分析東方與西方藝術界對於女性人物畫之兩種不同觀點對於整個中國彩墨女性人物畫之創作技法及風格發展的影響與在當時所引起的爭議。 (三)、分析當代中國彩墨女性人物畫的作品變化特色，以了解其形成之因素。 (四)、經由探討歷代相關之繪畫理論與實際創作經驗，將其做為個人在創作過程中之理論基礎及實務運用之經驗。 (五)、由「創作理念」、「學理基礎」、「內容形式」、「材料技法」及「總體表現」等五個項目逐一分析個人在創作上所達到之效果，以增進個人在未來之創作發展。本創作研究經論文探討及創作實務之實踐之後得到以下結論： (一)、中國的彩墨女性人物畫當中之人物造型及使用之繪畫技法演變不僅單純的呈現出當時的社會文化背景，更代表了中國數千年來的儒、釋、道三教對於女性的禮教規範的表現。對於整個中國彩墨女性人物畫的發展歷程，我們可將其視為中國女性在長久以來的歷史源流中所扮演角色的視覺表現。 (二)、過去的傳統中國繪畫領域在面對近代西方的藝術思潮的衝擊時，當下與傳統思維所產生的衝突與爭議在經過長時間的磨合之後已演變出一種融合二者文化特色的新思維，讓過去向來被視為封閉保守的中國女性人物畫也逐漸的發展出一種具有現代多元文化特定的風格。 (三)、透過對自我作品的檢討與反思，不斷的針對自我作品的缺失做改進，如此才能不斷追求更高層次的創作水準。而在創作過程當中，將自身的生活經驗與對事物的觀點融入作品的呈現當中，以作品來做為表達自我意識的一種方式，這樣也是一種建立個人創作風格的管道。 (四)、在創作過程當中不斷的汲取他人的相關理論與經驗當可成為自我創作過程中的一項最有力資源，可減少自我盲目摸索所造成的缺失。本創作研究尚屬個人之研究所得，受限於個人所學之有限，故在各項文字分析與創作理念上仍有缺失，在未來筆者亦將繼續在此相關領域充實所學以求能有更深入之了解。本創作研究如有不足之處，也希望各位先進與同好能不吝賜教，以使此項研究更臻完善。

關鍵字

彩墨畫；女性人物畫

並列摘要

The development of female figures in Chinese color-ink painting and its Chinese features and influence on Chinese painting history are the focus of this research. It is hoped that through this research, an understanding toward the then contemporary concept of aesthetics and the influences of cultural, social, and economic factors on Chinese painting can be gained. Based on relevant theories and creation experiences of the previous generations and the comparison of different painting perspectives in Chinese and the Western countries, an individual creation concept and furthermore, features, are established. This paper consists of theory analysis, art history research, and research method. Then the creation and discussion section reviews and analyzes author’s own works and discusses if those creation works have achieved the expected goal. Purposes of this paper are as the following: 1.To gain an understanding of the development of female outfits and poses in Chinese color-ink painting and the causes behind this development through research on Chinese culture and history. 2.To analyze different perspectives of female paintings between Orient and the Western, their influences and the disputes they aroused. 3.To analyze contemporary Chinese female figure paintings’ features and factors behind this development. 4.Application of relevant painting theories and creation experiences of previous generations to this paper’s discussion and work creation is conducted. 5.Work analysis from the perspectives of theme of creation, literature review, structure, material and technique, and overall presentation is conducted for the future improvement. Conclusion of this paper covers the followings: 1.The development of female outfits and poses in Chinese color-ink painting represents not only social and cultural background at that time, but also manners and restrictions imposed on females by the Confucianism, Buddhism and Taoism during the past thousands of years. This painting development can be regarded as visual presentation of the role of Chinese female in history. 2.The impact of Western art on traditional Chinese painting and the conflict between these two different art perspectives have, through a long interaction, developed into a new idea which combines both Chinese and the Western cultural characteristics. Chinese female figure painting, which used to be viewed as conservative, has gradually established its own significant, modern, and multi-cultural style. 3.Better works must be accomplished through constant review, modification, and improvement. It is believed that creations that incorporate the creator’s own life experiences and perspectives are a presentation of one’s self-awareness. 4.Relevant theories and creation experiences from others which are a very helpful resource can help eliminate mistakes or misunderstandings in research and creation. Further research is still required for better understanding toward the development of female figure in Chinese color-ink painting, and more efforts are needed particularly for creation and theory study.