聯想與對照－林文苑水墨創作探討

林文苑

指導教授 ： 李振明

國立臺灣師範大學/藝術學院/美術學系/碩士(2004年)

摘要

本研究內容主要配合畢業水墨創作展－「聯想與對照」中的五組作品：《路》（草坡路徑與單行道）、《複雜交錯》（捷運車廂與密林）、《堆聚》（捷運車站與山谷）、《穿》（峽谷與隘巷）、《等待》（樹叢與人群），針對其中的創作理念與表現形式以文字呈現出來，而不另闢其他單一主題的研究或藝術史的研究來與作品連結，第一章說明動機和靈感來源，接著兩章分別由表現採取的方式和選擇的形式著手，首先由整體說明創作中欲從自己生活中有感覺的事物出發，透過親身經驗的回憶有感山林與城市兩者的截然不同與共存，結合山與城市兩種景觀，來表達可以呈現台灣的內部的山與外圍的城市兩種不同特色；配合分析我對畫面取景採取的方式的看法，對現代生活的跳接、不連續、多元的體認，對記憶的情境分類，作一番聯想與對照。在作品的形式方面，由介紹古人對同一概念以組畫表現的整理，說明作品也想嘗試如古代中國繪畫的成組型式，來表達自己對山和都市的某些觀察感想，或進一步構想將兩者以漸變融合的方式結合於畫面，和畫面的多重視覺設計。最後對每組畫作個別進一步解釋，盡量的呈現創作養分的來源和畫中的想法，以及簡短的結論。
此文是由許多和藝術相關的思考和知識綴集而成，希望可以中肯而清楚的顯現這次創作的觀點。

關鍵字

水墨創作 ； 聯想與對照 ； 組畫 ； 視覺記憶 ； 多重指涉

並列摘要

The research is mainly based on five set of creative works, “Road: Grass Trails and One Way Pass,” “Complicated and Interwoven: MRT Car and Crowded Woods,” “Complied: MRT Station and the Valley,” “Penetration: Valley and Alley,” and “Waiting: Bushes and People,” in my ink and color painting exhibition of graduation. Focusing on its creative ideas and expressive styles by literary words, the study will not open another researching topic or one in art history linked to other works.
Chapter One is the explanation of motivation and inspiration sources. First, I will state the creation is from daily feelings as a whole and by personal experiences to recall the distinguish differences and coexistence between cities and mountains. Combined with both scenes from mountains and cities, I intend to show the features of mountains inside Taiwan and the outer cities. In Chapter Two, I will explain why I choose those methods of display. Combined and analyzed with my own ideas toward scene-snapping and categorized by memories of skipping, non-successive and multi-perspective modern life, contrast and associative thinking are produced. Chapter Three is about the form of works. By introducing ancient people’s idea to present a set of paintings of a certain concept, I would like to experiment the set format to show my own observations and reflections upon mountains and cities. Further, I try to blend these two different scenes in painting frame and produce multi-visual designs. Chapter Four is the further explanation and analysis of each set of paintings individually. Here I’m trying to show more creative sources and ideas inside as possible. And in Chapter Five I will conclude in short.
This study is piled up with many artistic thinking and knowledge and hopefully could express clearly and appropriately the perspective of these creations.

並列關鍵字

ink and color paintings ； associative thinking and contrast ； set painting ； visual memory ； meta-reference