府城名勝古蹟水墨寫生之研究

府城名勝古蹟水墨寫生之研究摘要台南府城是台灣最早開發的據點之一，至今已近四百年的歷史，是座擁有豐沛歷史人文的古城，古蹟密度更是居全台之冠。筆者生長於此，自幼穿梭於大小古蹟之中，對此地產生了濃厚的情感。時光飛逝，府城的大環境也逐漸轉變，名勝古蹟也漸漸改變了他們的樣貌，令筆者興起以家鄉名勝古蹟做為寫生創作對象的念頭。故筆者希望透過本次研究，更加深入去觀察、了解這個城市，並透過畫筆，描繪筆者眼中美好的台南印象。本研究運用行動研究、文獻分析、田野調查等方法來研究「寫生」之意義內涵，從中求得寫生創作的程序與應有態度，最終以寫生創作的方式呈現。本論文分為五章：第一章緒論，說明筆者為何以水墨寫生傳達對家鄉名勝古蹟的情感與想法，進而深入研究「寫生」之意涵，藉此求得寫生創作的應用過程，再將結果應用在寫生創作之中。第二章文獻探討，首先透過對「寫生」的界義與相關山水理論之論述，了解寫生之意涵，並將寫生創作分為描摹特定對象外在形貌、表現描繪對象精神、傳達創作者主觀意識三個類型，做為寫生創作之參考。其次經由對歷代山水畫家、民國以後台灣寫生山水畫家與其作品之探討，向前人取法，將這些創作方法消化吸收後，以現代的觀點加以應用於作品之中。第三章創作理念的形成與建立，分別探討如何經由觀察，透過具體的「形」來傳達創作者想法、傳統技法轉化與應用、以及如何使作品順時而變，具時代性。第四章作品解析，第一節針對台南名勝古蹟之歷史與沿革做概略介紹；第二節詳細說明寫生創作實踐的過程；第三節代表作品解析，由本研究所創作的二十件作品中，選出七件代表作品，每件作品依照創作理念、學理基礎、內容形式、材料技法、整體表現分別作說明。第五章結論與省思，水墨寫生應從形似入手，向最高境界─寫意的方向邁進。筆者以台南名勝古蹟為主題，嘗試以不同的觀察法、多種視角的構圖方式、轉化與應用傳統水墨技法，試圖呈現府城名勝古蹟的特質與精神，並傳達筆者對它們的想法與情感。本研究所創作的水墨寫生作品，雖因筆者涵養與經歷尚淺，使作品停留在寫形與寫神的階段，故筆者希望未來能做更進一步地學習，增廣見聞，豐富自己的經歷，讓作品呈現出更加多樣化的面貌。

關鍵字

府城名勝古蹟；水墨；水墨寫生；寫生創作

並列摘要

The Study of Chinese Painting of Tainan’s Ancient Monuments Abstract Tainan is the earliest developed city in Taiwan. It has been developed for about four hundred years. It is a city full of histories and ancient monuments. The author was born and grown up here. She used to visit these monuments and very fond of them. However, the style and feature of Tainan have gradually been changed, so do these monuments. So she has the idea that she would like to keep the beauty of the monuments eternally through Chinese paintings. Therefore, the author decides to learn much more about Tainan through the study and draw the beauty of the city Action research, document analysis, and field study are applied to study the meanings of "painting" in this study. Through this process, the procedures and the right attitude of creation are obtained and then the paintings are made. The paper includes five chapters: Chapter One--Introduction. The author explains why she uses Chinese paintings to convey her feelings and thoughts about Tainan’s ancient monuments. Then the meanings of "painting" are investigated, in order to get the idea of creation and then make paintings. Chapter Two-- Literature Review. Firstly, the meanings of "paintings" are obtained through the definitions of "painting" and related theories. The creation of painting is divided into three types: drawing the external features of a specific object, showing the spirits of the object, conveying the subjective consciousness of the creator. Secondly, through the investigation of ancient landscape paintings, the author gets to know better about Chinese paintings. The author makes Chinese paintings by applying the methods of ancient Chinese paintings plus the modern viewpoints. Chapter Three--the Formation and Establishment of Creation Concepts. Firstly, the author investigates how to use observations and concrete shapes of objects to convey her ideas, the transformation and application of traditional techniques, and how to make the paintings more fashionable. Chapter Four--Analyses of Works. Firstly, a brief introduction of Tainan’s ancient monuments is made. Secondly, a description of the processes of Chinese paintings is made. Third, the analyses of author’s works are made, according to her creation ideas, theoretical foundations, contents and forms, materials and techniques, and overall performance. Chapter Five--Conclusion and Reflection. Chinese paintings should start from the similarity of the feature, to the highest state ─the expressions of the creator’s idea. The author chooses Tainan’s ancient monuments as the theme of her study. She tries to use different methods of observation, a variety of perspectives, and transformation and application of traditional Chinese painting techniques, to make her works to show the nature and spirit of the monuments and to convey author’s thoughts and feelings. The author will keep learning and painting in order to make her works perfect.