尋找當代新樂園 ──劉國興現代水墨與科技對話

The Search for a Modern Utopia: Liu Kuohsing’s Dialogue between Contemporary Ink and Technology

劉國興

指導教授 ： 李振明

國立臺灣師範大學/藝術學院/美術學系在職進修碩士班/碩士(2012年)

摘要

本研究主題「尋找當代新樂園——劉國興現代水墨與科技對話」內容包含三大部分
一、抽象與現代水墨：現代水墨的表現形式自六○年代發軔迄今，持續不斷，從西方抽象主義切入，從事各種媒材、技法的實驗，在臺灣當代創作形式中，獨具一格，有個鮮明的面向、成果也極為豐碩。
二、多元面相與當代水墨語境：當水墨的新興發展在兩岸三地相繼進行中，其表現手法與形式呈現更加多元且豐富，更有不同領域的介面轉入，例如錄像、裝置、數位科技……等。
三、科技與電腦水墨：現代科技日新月異，電腦數位化更加速了人類生活方式的改變。視覺藝術也千變萬化，對人的美感經驗造成很多新的驚奇與衝擊，同時也衍生了很多不同表現的創新多媒體藝術。
隨著現代科技一瀉千里，迅速進展，電腦已成為人類不可或缺的配備與工具。尤其對新世代而言，影像科技已成為其主要溝通及依賴的方式，早已習慣處於此種科技的環境中，其未來的走向會是如何呢？目前尚無法預知，但科技卻是一種新興的動力，能間接幫助藝術創作展現潛藏的可能性，及賦有更新生命力的藝術景象。
讓「電腦」成為創作者另一隻「筆」、「工具」是可以去實驗與接受，不是嗎？也思索將傳統素材「水墨」與現代「科技」兩者來做一融合的可能性，創作一種嶄新的藝術表現形式。
因藝術與科技整合的時代已來臨，且已持續蓬勃開展形成可觀的局面。

1. 對本身處於當代藝術中重新探討水墨的價值與意義
2. 從中國傳統繪畫的藝術特徵、審美觀再深入理解與反思
3. 現代「科技」與傳統「水墨」的融合與應用

關鍵字

樂園 ； 基因 ； 數位 ； 意象 ； 枯山水

並列摘要

This study “The Search for a Modern Utopia: Liu Kuohsing’s Dialogue between Contemporary Ink and Technology” is divided into three parts:

1. The Abstract and Contemporary Ink: Contemporary ink first appeared in the sixties, and has evolved continuously ever since. It stems from Western abstract art forms and experiments with different media and techniques. It holds a unique position in modern Taiwanese creative forms, and not only does it have distinct qualities but has also resulted in numerous works.

2. The Diverse Forms of Contemporary Ink Expressions: As new developments in ink continue to take place in Taiwan, Hong Kong, and China, more diverse as well as more abundant forms of expression and techniques begin to emerge. Media from different fields have also been introduced, such as video recordings, installations, digital technology, etc.

3. Technology and Computerized Ink: Modern technology is advancing rapidly and digitalization has changed the way humans live. Visual art forms have also created new surprises and innovations to the aesthetic experience. At the same time, many news forms of original multimedia art have been produced.

With the rapid advancement of technology, computers have become a tool and accessory that we cannot do without. In particular for younger generations, image technology has become the main means of communication and an essential part of their everyday lives. What will the future be like for the generations who have become accustomed to this technology-rich environment? There is no way to tell yet, but technology has become a new force capable of indirectly assisting in revealing the hidden potential in artistic creation, and can also breathe new life into present art forms.

It is possible to accept and experiment with computers as a “pen” or “tool” by the artist, is it not? This also creates the possibility of combining the traditional art medium “ink” with “technology” to create a brand new form of art.

We are now in an age of integration between art and technology, a combination that continues to flourish and come into its own.
a. We must reexamine the new role and meaning of ink through contemporary art
b. We must reevaluate and understand the characteristics of traditional Chinese painting art forms and aesthetics
c. We must implement the integration and application of modern technology and traditional ink

並列關鍵字

Utopia ； genetics ； digital ； image ； dry landscape

參考文獻

1. 王雅倫，《從最低限到無限：羅伯特‧莫里斯作品的「空間場域」概念研究》，博士論文，臺灣師範大學美術學系研究所，民國98年6月。

13. 楊檉權，《網路符號與水墨書法的交會》，碩士論文，臺灣師範大學美術學系研究所，民國100年6月。

15. 漢寶德，〈自眼界到境界──看陳其寬的藝術〉《須彌芥子──陳其寬八十回顧展》，臺北：財團法人沈春池文教基金會，2000年9月出版。

一 專書

1. 王其鈞編著，《專家帶你看建築─中國著名園林》，大陸：北京機械工業出版社，2007年6月第一版。