筆韻深耕─翁易群水墨寫生創作論述

本創作論述，彙整了筆者創作的三個系列：「憶花憶草」、「圓與缺」、「數樹」共十五件作品。筆者以寫生自然作為創作基礎，運用工筆技法，將記憶中的「懷舊鄉情」以象徵性的物件表現出來。並探討北宋的自然寫實繪畫觀、台灣日治時期「台展」帶有地方風土色彩的繪畫與1970年代興起的台灣鄉土寫實風格，並將以上寫生觀念融入於個人的創作中。本論文分為五章，第一章緒論說明筆者的研究目的，希望藉著前人發展的鄉土寫實觀念，銜接自身對於童年鄉情的嚮往與懷念，並以寫生創作的方式，讓精神能暫時回歸沉澱，以抒發生活中的壓力。第二章學理基礎，分別對北宋的自然寫實精神、日治時期的鄉土寫實風格與台灣鄉土寫實觀念做了分析與探討。北宋的寫實精神，從早期的「院畫」轉變為自然寫實，而日治時期的「台展」則鼓勵創作具炎方色彩的台灣鄉土景色，至於1970年代興起的台灣鄉土寫實風格，引發珍愛台灣土地的風潮，仍延續至今。第三章主要說明個人的創作理念，是以真正貼近筆者童年生活的平凡花草入畫，並藉著忠實寫生的過程中，提取出深藏於心的故鄉元素來完成創作。第四章則對三個創作系列進行介紹，並依序做主題內涵的探討與創作形式的分析。第五章結論則為本論文的研究做總結並敘明筆者未來的研究方向。

關鍵字

寫生；鄉土寫實；炎方色彩；水墨畫

並列摘要

In this paper, three series of works: "Memory of Flowers and Grass", "Round and Short", and "Counting Trees", with a total of 15 pieces, were compiled. Based on nature sketching, the author employed the gongbi technique to express the "nostalgic feelings" in the author’s memory with symbolic objects. The author also explored the realistic view of nature painting in the Northern Song, the paintings with vernacular colors in Taiwan's "Taiwan Exhibition" during the Japanese occupation, and the vernacular realistic style in Taiwan that emerged in the 1970s. The author incorporated the above concepts of sketching into the author’s creation. This paper is divided into five chapters. The first chapter is an introduction that explains the purpose of my research. Through the concept of vernacular realism developed by previous generations, the author hope to connect with the author’s own yearning and nostalgia for the childhood. By means of sketching and creation, the author’s spirit temporarily returns to resting, so as to relieve the pressure in life. In the second chapter, the author discusses the theoretical basis of naturalistic realism in the Northern Song, the style of vernacular realism during the Japanese rule, and the concept of vernacular realism in Taiwan. The spirit of realism in the Northern Song changed from the early "court painting" to naturalistic realism. In contrast, the "Taiwan Exhibition" of the Japanese period encouraged the creation of Taiwanese vernacular scenes with Yan Fang colors. The 1970s saw the emergence of a realistic style of Taiwanese vernacular painting, which led to a trend of cherishing the land of Taiwan that continues to this day. The third chapter explains the author’s creative philosophy, which is to draw ordinary flowers and plants that are close to my childhood life. Through the process of faithful sketching, the author extracted the elements of my hometown in the author’s mind to complete my creation. The fourth chapter introduces the three creative series, and then examines the connotations of the themes and analyzes the forms of creation in order. Chapter 5 is the conclusion, which concludes the research of this paper and outlines the direction of the author’s future research.