色彩的空間效用之分析

色彩的空間效用之分析摘要秉持安海姆（Arnheim, Rudolf，1904）所說：「藝術作品乃對真實之本質的描述。從雜然紛紜中，拈出了最足以表現的形式來。」此概念，從諸多繪畫要素中，強調「色」與「形」在繪畫上的根本價值，以自己的生活體驗為主軸，實際面對府城人文風采，透過對「色」與「形」的重組，分析隱含在畫面中色彩空間的「傾向性張力」。做為筆者創作時，思考與突破的基礎。並在此基石上，轉化為個人獨有的油畫語彙。嘗試以色彩彩度彰顯屬於南台灣的氣氛，並輔以穩定的畫面結構比例，或誇張、或簡化，使畫面更富情趣。以色彩學與視覺心理學為理論依據，分析近代繪畫作品，印證有效的色彩佈置，使色彩和位置相呼應；造型的導向所形成的動勢取得均衡，組織出有意味的形式表現。藝術的題材總離不開生活的體驗，筆者以自己所住居的台南人文環境為出發點，運用繪畫色彩表現出風土人情與景觀氣候，並參考與南台灣有淵源的前輩畫家作品，作脈絡性的研究創作。本次研究發現，透過「色彩」與「形式」的適當運用，如色彩的對比與調和關係，形狀的造形與疏密呈現等，不但產生色彩的律動，也能導引觀賞者的視覺動線，使繪畫的空間結構與內在的動能導向產生豐富的繪畫美感。最後章節，就筆者依繪畫理論所創作的作品，分別做作品分析與創作理念之陳述。

關鍵字

色彩空間；色彩

並列摘要

The Analysis of the Effect of Colorful Dimension Abstract Arnheim, Rudolf (1904) said “work of art is to describe essential of the reality so as to pick up the most proper form in the complex world”. This concept emphasizes the essential value of painting with “color” and “form” in various factors of painting, which is to analyze “tendentious tensility” of color space hidden in painting on basis of one’s own experience of life, personnel style and recombination of “color” and “form”. The author, basing on such concept for consideration and breakthrough, transforms it into his own techniques of oil painting. Meanwhile, the author tries to present the atmosphere characterized by south Taiwan with color tolerance while supported by stable scale of painting structure magnified or simplified, so that painting is more interesting. This paper analyzes the modern painting works and confirms the effective layout of color so that color is corresponding to its position in accordance with chromatics and visual psychology; and drive made by formative orientation is balanced that produces a meaningful form of embodiment. Subject of art is related with experience from the real life. The author, basing on human and cultural environment of Tainan where the author inhabits, presents the local natural conditions and social customs with color of painting and makes a through research by referring to works of senior painters who are related with south Taiwan. This analysis finds that the proper application of “color” and “form”, such as contrast between colors and the regulated relationship, shape of form and presentation of spacing, can not only produce rhythm of color but also guide visual sight of appreciators, so that the space structure of painting and its internal drive can produce a rich aesthetic feeling. In the last chapter of this paper, the author analyzes works and describes the concept of works respectively basing on works painted according to the painting theory.