「長物」今尋-徐昕水墨畫創作論述

本論文題目為「長物今尋-徐昕水墨畫創作論述」，闡述筆者在創作過程中，通過對於周遭事物的觀察與體會透過器物或動物來投射自身的情感並對於畫面中所出現的建築體或植物進行闡述。本創作研究論述的主要架構如下：第一章緒論：主要描述筆者的創作研究動機以及研究範圍與方法。第二章文獻探討：分為三個部份：一為東西方群性主義哲學思維以及東方美學觀，此節通過對於東西方思維的不同，進而來闡釋東方美學的獨特性；二為以「孤獨」為藝術養分，通過對於藝術家創作狀態的表述，來闡述孤獨感；三為孤獨後的自由，此節進一步的通過對於孤獨的闡述，表述出保有孤獨感實際上精神是獨立的；四為藝術家的自然生活之態此節為通過對於古代文人高士之淡泊生活狀態表述，藉由闡述筆者對於淡泊疏朗精神的嚮往與追求。第三章創作理念與計畫說明：主要在說明繪畫中所出現的器物，花卉，金魚等事物。再分為創作理念思想說明以及創作形式與內容分析兩個小節，以此闡述畫面的構成以及畫面中所出現的古典園林形式及圓形構圖，進而更深入地表達筆者的創作思路。第四章：作品創作解析，分為室內系列、室外系列、園林框式造型、圓形清供系列，筆者對作品進行詳細表述以及創作理念的表達和形式技法的使用說明。第五章結論：回顧反省本次創作研究過程中的不足並評估對於未來創作的延續性以及可能性之斟酌。筆者藉由此系列創作的研究，以及自身理念的闡釋，並以工筆設色的形式來進行水墨的創作，不但讓筆者的筆墨運用更加精進，更在思鄉情結的抒發上有了出口。此外，透過古典園林造型及故鄉景物情愫的轉換，傳遞了自我對生活的理解以及身份的認同。

關鍵字

水墨創作；工筆設色；長物今尋

並列摘要

With the title “Searching for Superfluous Things in Present Days—A Treatise on Xu Xin’s Creation of Ink and Wash Painting”, this treatise is based on the observation of and experience from the author’s surroundings in the process of creation. Aiming at expressing personal feelings through utensils or animals, and at illustrating the architectures or plants in the drawings, this treatise is structured in the following manner: The first chapter is the introduction. It mainly focuses on the author’s motives, range of study and methods of study. The second chapter—the literature review—is divided into four parts. The first part deals with the western/oriental collective philosophy and the oriental views of aestheticism. This part illustrates the uniqueness of oriental thinking through a comparison of western and oriental thoughts. Regarding “loneliness” as the nutrient of art, the second part explains “loneliness” through a description of the artist’s state of mind in the process of creating. The third part discusses the freedom after the loneliness. This part further discusses “loneliness” and conveys the idea that “loneliness” is actually an expression of spiritual independence. The fourth part is about the natural living condition of artists. This part delineates the unworldly living conditions of ancient scholars and conveys the author’s indifference to fame and pursuit of magnanimity. The third chapter is the explanation of creative ideas and plans, focusing mostly on the things presented in the paintings, such as the utensils, flowers and goldfish. The chapter can also be divided into two parts: the illustration of creative ideas and the analysis of creative forms and contents. The composition of the paintings, the classical garden styles, as well as the circular composition can be further illustrated to clarify the author’s creative thoughts. The fourth chapter is the analysis of the created works, including the indoor series, the outdoor series, the garden frame modeling series and the circular elegant offering series. A close analysis of the works, the creative ideas and formal techniques are also included in this chapter. The fifth chapter is the conclusion. With a review and reflection on the shortcomings in the creating process, the author also probes into the possibility and continuity of future creations. This study, along with the illustration of individual ideas and a form of fine brush painting, has not only improved the author’s use of ink and brush, but offered a way to express nostalgic feelings as well. In addition, the transference from classical garden styles to memories of hometown sceneries has also expressed the author’s understanding of life and recognition of identity.