－神工鬼斧－商周青銅器紋飾藝術研究及其在水墨創作中之表現

徐偉軒

指導教授 ： 林昌德

國立臺灣師範大學/藝術學院/美術學系/碩士(2006年)

摘要

摘要
傳統紋飾圖案，在藝術發展上來說，它具有時代歷史的象徵意涵。世界上每一個民族，都有著具有獨特民族風格的傳統紋飾。一直以來，中國的人物畫、山水畫、花鳥畫等繪畫藝術，被認為是中國藝術的正統。事實上，繪畫藝術的發展比裝飾藝術晚了許多，裝飾藝術也是中國繪畫藝術的源頭，其中裝飾性的審美元素，是否可以再度成為創作的重要題材。
歷史上的商周時期，是中國的「青銅器時代」。大量的青銅器及其紋飾藝術表現上，已是歷史上不容抹滅的印記，說它是中國藝術發展的源頭之一，一點也不為過。它傳承了數千年的文化蘊含，孕育、演化出日後中國豐富而多樣的裝飾紋樣母題。這樣的藝術資產不論對於世界或是中國的紋飾藝術，都具有崇高的實質意義。
商周時期是中國由傳說時代邁向信史時代的關鍵時期。商與周兩個不同的政治實體，在其文化背景與歷史環境，卻有著相當程度的關聯性，特別是對於宗教觀念以及封建制度下，從青銅器及其紋飾的演變上，可窺其一二。青銅器紋飾藝術在商周時期的文化表現上中，佔據了相當重要的部份。青銅器不僅造型精美，豐富多樣的紋飾更是當時人們思想與審美的呈現，其巧妙精巧表現風格，不論在內容與形式上，皆具有獨一無二的特質。
透過商周紋飾的分析、解讀，不僅可以探求商周時期的思想元素以及審美原則，更能刺激並引發傳統水墨繪畫的多元能量，了解原始藝術的感染力是從何而來，為中國繪畫的現代化，提供與以往不同的動力。另外，關於其中宗教的神秘力量，所反映出的神話色彩，是一種單純卻強烈的情感穿透，這是否能為現代水（彩）墨發展的另一條途徑。這其中關係到繪畫的傳統觀，其價值應當重新釐清。在自我創作上，戮力進行實驗與想像力的串聯，將形式上的題材、造型、筆墨、色彩、技巧上，充分的結合，進而成為一種既不違背傳統，又能符合時代意義的創作態勢。
本文主要在探討水墨創作中多元性的表現試探，由「青銅器裝飾紋樣」的探源、研究，了解其背後的繪畫性與其審美觀，進而繼承傳統卻又極為厚實的繪畫概念，提升水（彩）墨畫之內涵，藉此重新審視、論述自我創作意念，並檢討與反省，以期自我創作面相在傳統與現代的能量下發生變化，將水（彩）墨的藝術表現，發展成融合東方韻味的當代面貌。

關鍵字

青銅器 ； 紋飾 ； 水墨

並列摘要

Abstracts
The traditional decoration pattern has its historically emblematic meanings in the development of art. Every ethnic around the world has his unique traditional ethnic decoration patterns. The painting of people, landscape, and flower-and-bird have been regarded as the orthodoxy in traditional Chinese painting style. As a matter of fact, the development of painting art is much later than that of decoration art. In addition, the decoration art is the origin of Chinese painting art. And the decoratively aesthetic elements would be the main theme of artistic creation again.
Shan-Chou Dynasty is the Bronze Age in Chinese history. A lot of bronze ware and decoration art are inerasable impression in the development of art. It is true that traditional decoration pattern is the origin of Chinese painting art. And the decoration art acceded to thousands of Chinese culture holdings that evolved into later Chinese colorful decoration themes. This kind of artistic heritage has highly significant meanings to either the world or Chinese decoration art.
Shan-Chou Dynasty is the key time from legendary time to pursuivant time. While Shan and Chou Dynasties are two different entities,and they have considerably connection between cultural backgrounds and historical environment. People can get a picture from the changes of bronze ware and its decoration arts especially under the political ideas and feudalism. The bronze ware and its decoration arts play an important role in cultural development of Shan-Chou Dynasty. The bronze ware is not only delicate in shape but its colorful decoration is also the existence of people’s thoughts and aestheticism. In addition, the delicacy style of the bronze ware has a unique trait in either the content or the formation.
Through the analysis of decoration patterns of Shan-Chou Dynasty, we can not only find out the thoughts elements and aesthetic principles of Shan-Chou Dynasty but also can intrigue polybasic energy of traditional ink painting. As a result, we can realize where the appeal of original art is from and that can offer the power different from that of before for the modernization of Chinese painting art. In addition, the secret power of the Bronze ware and the decoration art reflect not only simple but also strong feeling penetration that would develop another math of modern painting. As a result, In self-creation of art, the researcher tried hard to do the combination of experiment and imagination.
The dissertation is divided into five chapters. And the dissertation is aimed at exploring the multiple performance in Chinese painting. We may explore and study the origin of the decoration patterns of Bronze Age so that we can realize the spirit and the aestheticism of decoration art of the Bronze Age. Furthermore, the researcher tried to promote the content of Chinese painting and would like to re-investigate the thoughts of self-creation so that the researcher can review the result and hope to make a difference between self-creation and traditionally modern power. And finally the researcher would like to create an oriental painting style in painting performance.