台灣海域情境表現之研究-礁岩與浪潮之美

本文旨在以「台灣海域情境-礁岩與浪潮之美」為題材，運用水墨媒材技法與型式做寫生創作之研究。藉由理論探討及個人實地實景觀察，透過拍照與做速寫稿搭配的方式當參考資料，並加上水墨媒材的技法實驗，企圖呈現具個人風格特色之作品。本研究論文共分為五章。其概述如下：第一章是緒論，提挈研究動機與目的、研究方法、研究步驟、研究範圍及研究架構加以論述。第二章為探討前人之相關研究，理論與圖像作探討分析，並針對相關論述加以分析檢視，以山水畫中的「水」作為研究對象，從中國文人對水的意識及哲理意涵開始，探討「水」在文人心中的地位的重要性，並進而研究「水」在中國山水畫中的象徵意義。而在表現山水畫意識的背後，必須以繪畫的方式來表達文人心中的山水意涵，作為本篇創作研究理論基礎與「台灣海域情境」系列創作之依據。以山水畫為主，在研究對象上主要探討「水」的表現方式，並兼採西洋理論作為佐證。山水畫中「水」的表現種類繁多，為應研究需要，需將其分門別類之，更將重點擺在「海水」的描繪與技法研究，表現更多樣貌的台灣海域情境特色。第三章為創作理念與實踐部份。主要探討水墨畫繼承與創新的相關文獻理論。水墨畫的發展就是一個繼承與創新的過程，亦是根植自身民族文化和吸收其他藝術及西方外來文化的發展過程，水墨畫更具有根植筆墨架構下發展的無限可能性，而無論是意境、內容、題材的創新，使水墨畫發展出具地域性、時代精神與民族性的水墨畫特色。此章另外探討藝術「情境」的意涵，水墨畫講求意境，不論是對於構圖、用筆、用墨、敷色的方面，都有具備民族性的鮮明特點，不強調自然景物中對於物體的光源變化，亦不拘泥於物體外表的相似度，反而多強調創作者的主觀用筆情趣，作品給觀者美的情境氛圍，使觀者產生衝擊與感動等回應，與作品產生互動。第四章針對作品案創作理念、學理基礎、內容形式、材料技法、整體表現等五項為要點做分析，闡述理念與創作之結合。第五章為結論與省思。水墨畫發展至近代以來，受思潮的轉變與外來西方藝術的影響，造就了多樣貌的表現形式，而具地域性、時代性與民族性的水墨特色，應當是台灣發展水墨畫為首要重視的課題，除了有形的物象描繪外，畫面情境的營造，應當是描繪出濃厚島國的鄉土民情，給觀賞者一個屬於「台灣風格」的水墨畫特色。在本研究中更希望能以關懷鄉土社會的情懷，開創出更附有生命力的藝術作品。

關鍵字

水墨；海浪；情境；台灣海域；繪畫創作

並列摘要

This article is for the purpose of take “the Taiwan sea area situation- beauty of Reef crag and tide” as a theme, transports the water used ink intermediary material technique and the pattern does research the sketch creation.Because of the theory discussion and individual real-life scenery observation, the penetration photograph with does on the spot fast writes a manuscript the matching way works as the reference, and Canada sails upstream the ink intermediary material technique experiment, the attempt presents has work of the individual style characteristic. This research paper altogether divides into five chapters.Its outline is as follows: First chapter is the introduction, leads the research motive and the goal, the research technique, the research step, the research scope and the research construction elaborates. Second chapter for discusses correlation of research the predecessor, the theory and the image make the discussion analysis, and aims at the correlation elaboration to analyze the inspection, by the landscape painting in “the water” took the object of study, consciousness and philosophy Italy which adds water from the Chinese writers contains the start, the discussion “the water” in Wen Renxin the status importance, advances together studies “the water” in the Chinese landscape painting symbolic significance.But in the performance landscape painting consciousness behind, must express in the writer heart by the drawing way scenery Italy to contain, takes this creation research rationale and “the Taiwan sea area situation” basis of the series creation.By the landscape painting primarily, mainly discusses “the water” on the object of study the performance way, and concurrently picks the Western theory to take the evidence.In landscape painting “water” the performance type is many, for should study the need, must it according to groups it, the key pendulum in “the sea water” description and technique research, performance more appearance Taiwan sea area situation characteristic. Third chapter for creation idea and practice part.Main discussion ink and wash painting inheritance and innovation related literature theory.The ink and wash painting development is an inheritance and the innovation process, also is rooted in own national culture and absorbs other artistic and the Western external culture developing process, the ink and wash painting has is rooted in the infinite possibility which under the words construction develops, but regardless of is the ideal condition, the content, the theme innovation, causes the ink and wash painting development writing up localization, the spirit of the age and the national characteristic ink and wash painting characteristic.This chapter of other discussion art “situation” Italy contains, the ink and wash painting emphasizes the ideal condition, no matter is regarding the composition, with the pen, with the ink, spreads the color the aspect, all has has the national characteristic bright characteristic, did not emphasize in the natural scenery regarding the object photosource change, also does not rigidly adhere to the object semblance similarity, instead emphasized the creator subjectively with the pen appeal, the work for the view beautiful situation atmosphere, causes the view to have responses and so on impact and move, has the interaction with the work. Fourth chapter in view of the work document creation idea, the scientific theory foundation, the content form, the material technique, the whole performance and so on five items makes the analysis for the main point, the elaboration idea and the creation union. Fifth chapter thinks for the conclusion and the province.Since the ink and wash painting development to the modern times, the ideological trend transformation and the external Western art influence, has accomplished the multi-appearance manifestation, but a localization, the contemporaneity and the national characteristic water ink characteristic, must be the Taiwan development ink and wash painting for the topic which most important takes, besides the visible physical image description, picture situation building, must be describes the thick island country the local public sentiment, belongs to “the Taiwan style” for watch one the ink and wash painting characteristic.In this research hoped can show loving care for local social the mood, founds attaches the vitality artistic work.