黃秋園繪畫創作之研究

本論文以近代畫家黃秋園的作品為研究對象，依其作品之表現形式與筆墨內涵進行繪畫創作相關之探討；同時結合畫者的生平經歷與歷史背景等面向，進而探討傳統學習方式在藝術繪畫中的價值。全文除緒、結論外共分五章來分析討論，緒論為提出傳統繪畫價值與定位的問題，點明論文研究的動機與目的。第一章是對黃秋園生平、經歷及其歷史背景、作品表現形式與時代意義作全面的概述。第二章則說明黃秋園的藝術思想內涵，他繼承歷代多位大家的傳統進而融合自我個性的繪畫表現，並將心得透過教學延續與傳承於後世。第三章是針對黃秋園山水作品的形式分析，以章法構圖、筆墨點線與人屋點景三個方向探討，冀望能對其作品表現歸納出特色。第四章則是討論黃秋園山水作品的風格與意境，按早、中、晚時期不同的作品進行分析，藉此能更清楚了解黃秋園山水畫的內涵。第五章是單獨就黃秋園廬山系列作品作比較，並以文學與繪畫兩個面向將歷代文人、畫家與黃秋園對廬山的描寫，分析歸納作品相互間的演變關係與特色。結論以黃秋園繪畫創作的三個部分來歸納總結，第一部分是黃秋園的生平，以其學經歷與時代背景、藝術表現內容與「秋園熱」的風潮來說明時代與黃秋園之間的影響。第二個部分是以黃秋園的藝術思想為說明，闡明他學習前人之法、自性表現的繪畫思想特色。第三部分則是總結歸納黃秋園的繪畫創作，以構圖與筆墨分析其作品的特色與內涵。最後透過對黃秋園全面性的了解，藉此反思當下我們自身的文化與價值，並以他為借鏡，思考繪畫創作中所謂創新的意義與中國山水畫的新發展。

關鍵字

黃秋園；山水畫；石濤；積墨法；骷髏皴；廬山

並列摘要

This present paper takes the modern painter Huang Qiu Yuan’s paintings as the object of the study. It carries out discussions on the manifestation and painting connotations conveyed in his works. Simultaneously, through the research on the painter’s biography and history background, it further explores the value of the traditional learning method in Chinese brush paintings. In addition to the introduction and the conclusion , this thesis is divided into five chapters. In the introduction, it focuses on the value and the position of the traditional paintings, thus, to illustrate the motivation and the goals of the study. The first chapter describes the painter’s biography, history background, manifestation of works, and his times significance. The second chapter interprets the painter’s artistic thoughts. He inherited previous great Chinese artists, and furthermore blended with his own creation style, passing down what he had learned to the later generations through teaching. The third chapter analyzes the manifestaion of his painting works with three different dimensions: their composion, the ink painting of the dot and line, and the figures , trying to generalize the characteristics of his manifestation. The fourth chapter discusses the styles and the artistic conception, which are studied according to his painting works of early, mid, and late stage. Therefore, we can understand the connotation of his works better. The fifth chapter analyzes Huang’s serial works related to Mt. Lushan. It studies the artistic works about Mt. Lushan by ancient writers and painters, analyzing and concluding the changing relationships and characteristics among them in the two aspects of literature and painting. The conclusion includes three parts. The first part is about Huang’s biography. By analyzing his education and experience, era background, artistic content of expression, and the “ Qiu Yuan Fever “, it explains the relationship between the times and Huang Qiu Yuan. The second part is , on the basis of Huang’s artisic thoughts , to illustrate his painting features: the techniques learned from previous painters and tne expression way of his own style. The third part, by analyzing Huang’s painting creations, concludes the characteristics and the connotation of his works. Finally, with the comprehensive understanding of Huang, the researcher reflects our comtemporary culture and its value. By taking Huang Qiu Yuan as a good example, let us think about both the meaning of creation in painting and the new development of Chinese landscape painting.