花語畫境‧荷韻-王琇璋彩墨創作研究

荷，深藏著豐富的精神内涵與文化底蘊，歷來即為歌詠摹繪的主題，筆者在經歷一場車禍的身心煎熬後，方才更深刻體悟一切有為法，皆剎那生滅，變易無常。這般生命的覺察觸動了創作靈思，因此，筆者以荷花為題材，進行「花語畫境‧荷韻」的創作和研究。本論文架構分為五大章，內容架構如下：第一章緒論，說明研究動機與目的、研究內容範圍、研究方法與創作規劃、名詞解釋。第二章從荷花的生態觀察切入，由蓮子的萌芽孕生，到荷花的綻放與凋謝，導引出荷花在人文、宗教及藝術上的表現意涵；其後探討「荷韻」的花語畫境，以工筆求其形之纖毫清淨，以寫意摹其意之自然靈動，並賞析歷代名家畫荷逸趣。第三章個人的創作實踐與發現，嘗試以膠彩礦物顏料創作，膠彩與水墨作更深刻的合流，期許在多媒材的運用下，藝術的傳承、技法與題材的創新，有更多元的交融。第四章荷韻系列創作分析，創作的內容以荷花的意象與生命觀的角度創作兩大系列作品：一、以礦物顏料重彩設色為創作主體媒材：此「荷韻」系列作品有「成、住、壞、空」、「渡」、「真空妙有」「遷想妙得」等，藉由荷花的榮枯繁凋，因應生命的無常變化，人的生、老、病、死，實則順乎自然之理。二、以荷花的意象為創作主體媒材：此「荷韻」系列作品，分別有運用寫意畫法的「出淤泥而不染」、「靜待」、「秋荷」，以及運用工筆、兼工代寫的「清香」、「郁香」、「荷夢」等，以探索荷花內在精神與外在特質，進行一系列創作研究。第五章結論是筆者的研究省思及自我的期許。

關鍵字

荷韻；膠彩礦物顏料；生命觀；意象

並列摘要

Lotus, with rich spiritual essences and cultural significances, has long been the subject of poems and images. Going through the physical and mental pains and sufferings caused by a car accident, I achieve a fuller and deeper understanding of impermanence. The heightened awareness of life gives me inspiration for creation. Hence, I decide to take lotus as my subject and engage in the research for and creation of Flower Language and Picturesque Scene: Rhythm of Lotus. This thesis will divide into five chapters. The content and structure can be summarized as the following: The first chapter is the introduction, which describes the motivation and purpose of the research, the range of research, the methodology, the planning of the creation, and explanation of terms. The second chapter begins with ecological observation of lotus, depicts the burgeoning of lotus seeds, the blooming and fading of lotus flowers, and extends to the expressive significances of lotus within the humanities, religions, and arts; this chapter also discusses “rhythm of lotus,” analyzing how the elaborate-style technique depict the clear-cut shape of lotus while the expressive-style techniques capture lotus’s natural spirit; this chapter ends with the appreciation and analysis of previous master painters and their lotus works. The third chapter consists of my personal creative practices and exploration. I attempt to utilize gouache mineral pigments to achieve a deeper confluence of gouache and ink; I wish the use of multimedia can serve as a better platform for the diversified joining of artistic inheritance and technical and subject innovation. The fourth chapter analyzes the creation of Rhythm of Lotus series. This series can be divided into two sub-series according to the lotus imagery and the perspectives of life: I. Works created primarily with mineral pigments: works of this sub-series include “Formation, Existence, Destruction, and Emptiness,” “Crossing,” “True Emptiness, Wondrous Existence,” and “Imaginary Interpenetration.” Life cycles of lotus represent the change and impermanence of human life; these paintings attempt to depict the natural law embedded within the birth, aging, illness, and death of human beings. II. Works created primarily on the basis of lotus imagery: works of this sub-series include paintings with expressive-style techniques like “Untainted,” “Silent Waiting,” and “Autumnal Lotus” and paintings with elaborate-style techniques like “Light Fragrance,” “Strong Fragrance,” and “Lotus Dreams.” These paintings attempt to explore the inner spirit and outer characteristics of lotus and transform them in this painting series. The fifth chapter will be my reflection of this research and some aspiration for the future.