故鄉情境-水墨田園畫之創作研究

面對傳統繪畫藝術精神之繼承及東西文化藝術交融的思潮衝擊，需思考如何在把握優秀傳統繪畫特點，又能適性發展作適度取捨。透過美術教育，從中外哲學、人文思想、及繪畫藝術廣泛學習，以吸取民族文化藝術營養。本文從探討傳統山水畫特色，學習歷代山水畫畫家寫生創作，運用民族文化特色筆、墨、色、水與紙等素材，表現畫「意」精神內涵，建立自我繪畫美學觀，作為田園水墨畫的創作理念依據，以豐富現代水墨畫藝術多元的新風貌。本研究運用「文獻研究法」、「歷史研究法」、「田野調查法」、「品質思考法」等研究方法，研究畫論及美學中有關畫「意」、「意象」與筆墨表現技巧和獨特空間表現，以探討傳統山水畫特色。其次，從歷代傑出山水畫家之特色表現之研究，及其相關鄉土田園畫蹟說明，了解客觀自然題材與主觀情思作用，進而體悟情景結合的創造一個有現實又有理想的畫境。最後，透過對近代畫家以其綜合古今及中西融合之再創時代新意探究，作為多元豐富藝術資產之學理基礎，並配合個人心性，作為創作理念與美學觀的運用，藉由人文關懷的角度，探索自然與人的關係，為繪畫創作方向與創作實踐。研究結果發現應避免落入套用古人既有形式的窠臼，如各種皴法、墨法等，宜依照客觀的地理氣候現象，發展個人筆意。多以現場寫生，感受對象的生意，以興發情意。秉持承先啓後之理念，汲西潤中，將光影運用於水墨田園繪畫之中，以墨彩渾融豐富畫面視覺效果，表現故鄉田園情懷。期能由傳統繪畫意境美學精神的承繼，進行自我調整，透過創作作品之省思，探究題材内容與技法之關係，以尋求發展個人理念方向，終能表現人文關懷、富有鄉土景緻的創作新面貌。

關鍵字

鄉居；田園畫；水墨畫；意境；水墨寫生

並列摘要

Situational Feelings for Hometown-Research on Creation of Chinese Painting Facing the spiritual inheritance of the traditional painting art and the impact of blending iedas from Eastern and Western cultures and arts, one needs to deliberate how to do appropriate trade-offs by keeping the foundation of the outstanding features of the traditional painting. Through art education and from Chinese and foreign philosophy, humanistic ideas, and broadly learning the art of painting, one can absorb the nutrition of national culture and art. From exploring the traditional landscape, learning how former landscape painting painters create, using material such as pen, ink, color, water and paper in which have national cultural characteristics, expressing art "meaning" with spiritual connotation, and building self-painting aesthetics, basing on the creative concept of pastoral ink painting, this paper discuss how to enrich modern ink painting art with a new look. "Documentary research" , “Historical research”, “fieldwork research” , “Quality thinking research” were used in this study. Author studies about "meaning" and "image" in the painting theory and the aesthetics and tries to reveal the expressing skills of using pen and ink and its performance on unique space to explore the traditional landscape features. Second, from the research on the former outstanding landscape painting painters’ noticeable performance and their description about native pastoral paintings trace, author tries to understand the roles of the objective natural themes and subjective affection, and then to realize how to create a reality and the ideal perspective in paintings. Finally, through investigating the modern painters who integrates ancient and modern and achieves sino-Western melting to form a new era of innovation as the basis to enrich the theory of the art assets, and with the personal nature of mind, as the use of creative ideas and aesthetics, and also with the perspective of the humane solicitude, exploring the relationship between nature and people, the author tries to cast a direction for painting creation and putting creation into practice. The findings should avoid falling into applying the former’s stereotype, such as a variety of texture strokes and blot and rather in accordance with the geographical and climatic phenomena, one should develop his/her own painting taste. More site sketch should be performed, feeling the vitality of the object to emit affection. Uphold the concept of continuity, absorbing from the west and cultivating the east, using the the effects of light and shadow in the the Ink pastoral paintings, applying ink color to enrich pictorial visual effects and to display homeland pastoral mood. Hoping to inherit the aesthetic spirit from the traditional painting artistic conception, through the reflection on creating works conducting self-adjusting, exploring the relationships between the subject content and techniques to seek the developing direction of individual ideas and finally one can express human solicitude and accomplish the brand new creation of the bountiful local landscape.