黃麗珠水墨寫生創作論述

摘要當今水墨畫，在西方思潮的影響下，呈現多元的發展，如何在多變的創作環境下，走出新氣象，是每位創作者值得努力反思的方向。我們從歷代大師的創作歷程，了解「師造化」的必要性，其中更需要有豐富的學理基礎作後盾；想要在創作上作更大的躍進，需要在理論上打好根基，在創作上以寫生為創作方針。荊浩從其豐富的寫生創作實踐中，領悟並歸結出創作精要〈筆法記〉，文中之“六要”更是蘊含豐富的寫生意涵，提供後人一個創作指標。本文旨在探討「荊浩〈筆法記〉之“六要”的寫生意涵」於水墨寫生創作之應用，有其正面的價值與意義。本文先解析水墨寫生意涵，了解中國繪畫寫生的廣義性，也剖析五代之前大師精闢深刻的寫生論點，體悟出寫生內涵的深刻特質，包括：注重精神描繪、重視意境的表達，採多視點透視，綜合印象組織於畫中等。接著探討荊浩〈筆法記〉的寫生思想，認知到繪畫創作應破除時間空間限制直透對象內涵，達到「度物象取其真」的創作真意。 “六要” 是〈筆法記〉的精髓，是寫生創造精神與技巧的總結，其內涵要意包含：畫家須明確地，胸有成竹的表現形象，畫中自然有神，方見生氣；破除斧鑿之痕，符合高雅風範，自然有韻；還要懂得去蕪存菁，搜妙創真，達到形神兼備；筆墨的運用，做到使筆不反被筆使，讓畫面更合自然之境。由以上學理的研究，筆者啟發以下的創作理念：一、面對自然寫生，藉由對物象的深刻觀察，了解客觀規律，才能去蕪存菁，對自然作美的關照，畫出對象的實質精神，懂得藝術剪裁，掌握自己的藝術語言等。二、在創新方面，包含：主觀能動性的掌握、意境的獨創、不落俗套、對自然產生激情，達到藝術創作妙境。三、掌握住筆墨應具時代觀、合地域性、合心性。繪畫創作以「月世界」為主題內容，充分掌握“六要”精華實際應用於創作上。關鍵字：荊浩、筆法記、水墨畫、寫生創作

關鍵字

荊浩；筆法記；水墨畫；寫生創作

並列摘要

Abstract As a result of the impacts of Western thoughts, the contemporary Chinese painting has experienced diverse areas of development; therefore the question confronting each of today’s artists is how to open up a new path. Through studies of the creative processes of generations of masters, it is revealed that the attitude of ‘learning from nature’, along with a solid foundation of theoretical understanding, are vital to a creative process. Ching Hao’s Notes on Painting Techniques consists of the fruits of his continuous experimentation with and personal experience in sketch painting and demonstrates the essence of artistic creation. In particular, it introduces the ‘Six Fundamentals of Painting’, which provide insights into the art of sketching. This dissertation, therefore, aims to examine the application of the ‘Six Fundamentals of Painting’ in sketch creation in Chinese painting style. This dissertation first analyzes the meaning of sketching in Chinese painting and thus establishes an understanding of the broad definition of sketching in Chinese arts. It also reviews the insights into the art of sketching, as provided by the masters before the Five Dynasties, and thus offers an understanding of the significant attributes of sketching, including an emphasis on spiritual presentation and the expression of artistic conception. Following a general review, the dissertation then examines the discussions related to sketching in Ching Hao’s Notes on Painting Technique. Ching’s masterpiece reveals that an artistic creation should break both the temporal and special boundaries and look for the spirits of the subject matter, thus ‘seeing the form and experiencing the spirits’. Being the core of Notes on Painting Technique, the ‘Six Fundamentals of Painting’ emphasizes the following points: first of all, an artist must present the spirits of the subject matter clearly and not focus solely on the technical achievement; secondly, it is necessary to separate the wheat from the chaff in order to produce a piece of art work in both form and spirits; and finally, an artist is in control of the brush instead of being controlled, so as to present a picture closer to nature. Concluding from the above theoretical review, the present author applies the following creative principles. Firstly, an artist of landscape sketching should carefully observe the subject matter, in order to present its aesthetic values and spirits and to be in touch with the artistic language of the artist him/herself. Secondly, in terms of originality, the presentation of individual artistic conception and the passion for nature are essential to an artistic creation. Thirdly, the painting should present the time, place and context in which the artist is situated. The present author applies the ‘Six Fundamentals of Painting’ to her creative works, which reflects her adequate and appropriate grasp of six principles as suggested by Ching Hao. Keywords: Ching Hao; Notes on Painting Techniques; Chinese ink Painting; Sketching