邱文仕人物畫空間構成創作論述

藝術創作經常會遇到一些「創新」問題，對過去的結論提出了新的見解、新的觀點與新的發現，也可以總在不同的時代賦予新的選題。用創造性思維去研究，首先要強調的是創新、研究與發現新的領域，但不是脫離實際「趕時髦」。今天我們在尋求一種符合當代審美趣味的人物畫樣式，這需要從時代的角度，用文化的眼光去審視傳統，體味當代。現代人物畫要深入研究傳統美學﹐廣泛吸收各種媒材與技巧﹐表現新的時代生活﹐做出現代人物畫多元的風貌的貢獻。本創作研究將以中國畫傳統構圖的思維為主軸，探尋個人創作的基本向度，經由現代人物畫寫生與創作，透過東方媒材，思索未來創作延伸的可能性。研究論述主要架構包括：(一) 中國畫構圖理論探究 (二) 人物畫的創作理念與實踐 (三) 作品說明等三大部分。本研究範圍從2003年至2007年間以都市人物與人物寫生為主要延伸作品，透過創作實踐並輔以理論分析，來確立我的創作目標。緒論中分別說明了本創作研究的動機與目的、研究內容與範圍、研究與創作的關係。針對中國畫構圖的探究，了解中國畫的構圖理論並探討中國畫的透視與空間，來了解中國畫構圖規律與法則。創作理念與實踐將重點放在人物畫的空間構成與視覺心理、創造意境，並探討人物的臨摩、寫生與創作關係。人物畫空間構成是主要創作作品核心議題，是涉及繪畫心理學、繪畫美學、繪畫透視學、繪畫色彩學以及繪畫創作理論的綜合性探討。創新是在積累的基礎上的再發現過程，是後人在前人基礎上的繼續探討。傳統繪畫筆墨深度、厚度、力度已遠遠不能達成與時代的共識。但新的構圖形式又是建立在傳統構圖形式基礎上的繼承與創新。所以，只有學習和掌握構圖形式的傳統規律，從中汲取營養，才能尋求新的生命──創新。筆者創作構思源自於生活所思所感，以平面創作形式為媒介，視覺藝術創作為一重表達方式，呈現個人的感知經驗，期使個人藝術創作能夠有所貢獻。當然，理論的實踐需要我們有一個長期的學習與研究過程，有其時代性與視覺經驗限制，如何在社會氛圍中積澱成個人創作的呈現，為個人努力的方向。

關鍵字

人物畫；空間；構成；構圖

並列摘要

Any artistic creation is bound to meet challenges of innovation. It intends to offer new insights, new point of views and new findings to the past conclusions. It always attempts to give new options to a different era. An innovative research with creative thinking explores new territory, but not ‘fashionable’ against reality. The aesthetic quest of figure paintings demands scrutiny from cultural and traditional aspects. It goes deep into the traditional, embracing various medias and techniques to express the times and contribute to the multiple styles of contemporary figure paintings. The study aims to look into the traditional composition of Chinese painting, to explore the various possibilities in artistic creation by adapting oriental medias into figure painting. The framework of this study is: (1) inquiry of the composition of Chinese painting, (2) the concept and practice of figure painting and (3) the interpretation of the researcher’s works. The study is to assert the researcher’s objectives in artistic creation by practice and theoretical analysis. It is based on the researcher’s figure paintings from 2003 to 2007. The purpose and motivation of the research, the research content and the research area as well as the relation between the research and the artistic creation are stated in the Introduction. Chapter 2 contains the inquiry of the composition of Chinese painting. By examining the Chinese painting composition theory to explore its regular patterns and laws. The concept and practice of artistic creation are in chapter 3. The focus is the spatial composition, visual psychology and the artistic conceptions in figure painting. It also treats the relation of imitate, sketch and creation of figures. The spatial composition is the main issue. It involves the psychological, aesthetic, perspective, chromatic and creation theories in painting. Innovation is the re-discovery on the accumulated foundation. It is the successors’ continuing request of the predecessors. The profundity, depth and the dynamics of traditional Chinese painting are far from reaching a common view with the contemporary art, while new styles of composition are built upon the inheritance and innovation of traditional composition formation. It is obvious that only by learning from the traditional disciplines and patterns, can the new life – innovation, be found. Life experiences conceive the researcher’s paintings and the paintings express the visual art through a media of flat surface creation. It is quite clear that sustained learning and study to the practice of theories are demanded however the limitation of times and visual experience are. How to accumulate and to express in artistic creations is the future direction to endeavor to.