雲浪滄海－李致勳創作論述

現今藝術創作的表現相當多元，在多媒材的互通使用下，詮釋創作的方式不再受限於材料與理論的範疇。在水墨創作的理論當中對於創作的思維有著獨特的美學觀點，而在台灣的藝術家們更無法忽視自己在亞洲世界中一路成長的文化養分，一位創作者在面對自己創作的時代背景下，不外乎會受到文化環境的渲染影響，有時作品的取材與靈感也是深深環繞在自身的生活環境內，在時代演進的背景下，多樣創作媒材的選用，造就許多迥異的創作方法，獨有的呈現各個藝術家的藝術風格，也展現每個創作者所關切的議題或者內心的表現，這些創作的方式也形成作者為自己紀錄的一種記憶或闡述意義，歷經成長過程和變化，也慢慢培養建構出藝術家在創作的演變與脈絡。筆者以描繪海岸水波的卷紋與海水湛藍的色彩，傳達自然環境的平靜與時間性，藉由觀察自然環境的細節紋理與渾然天成的色彩變化，來檢視自己創作的內在心理與創作技法，選擇海景做為描繪的主題並不是為了整合自己的繪畫風格，而是透過單純的海景帶給自己與觀者一種平靜無爭的感受，取自台灣環海的生活景色與地理位置的特性，做為一個創作題材的起點。然而在中國繪畫當中描繪浪水的創作並不多見，但在重視傳統線性繪畫的水墨中，線條既可以描繪出水波變化的流動感，也是一種線性的軌跡，在中國經典水墨畫中，馬遠《十二水圖》的創作也留下參考的依據做為創作的借鏡與範本，這也是我描繪海浪景色創作裡呈現的方法，結合水墨傳統繪畫的勾勒線條，創作出與其他取材海景的藝術家不同的特處。基於自身創作的脈絡與生活環境擇取浪水做創作的實驗與開端，在隨後的創作演變中尋找更多的可能性。透過水墨「線條的視覺語言描繪出海水波浪的白線紋理，也藉著海浪的創作主題進行重複描繪與研究技法，探討線條產生的水紋，在海浪風景的作品中給觀者體會單純靜謐的氛圍，以及思考如何在創作中賦予平靜的意境，並且與觀者產生共鳴，單純的風景何以做出深刻的溫度是我作品將探尋的課題。

關鍵字

海浪；水的波紋；水墨的線條

並列摘要

Nowadays, the performance of artistic creation is quite diversified. Under the interoperability of multi-media, the way of interpreting creation is notLimited by the scope of materials and theory. In the theory of ink and wash creation, there is a unique thinking about creation Aesthetic point of view, and artists in Taiwan can’t ignore their cultural cultivation that they have grown up in the Asian world.When a creator is faced with the background of his creation, he will be affected by the cultural environment.Sometimes the materials and inspirations of the works are also deeply surrounded by their own living environment, which is behind the evolution of the times.In the context, the selection of various creative media creates many different creative methods, uniquely presenting each artist The artistic style of each creator also shows the issues or inner performance of each creator, and these creative methodsIt also forms a kind of memory or explanatory meaning that the author records for himself. After growing up and changing, he gradually cultivatesYang constructs the evolution and context of the artist's creation.However, the creation of waves depicting waves is rare in Chinese paintings, but the traditional linear paintingIn ink, the lines can not only depict the flow of water waves, but also a linear trajectory, which is classic in China.In the ink painting, Ma Yuan’s creation of “Twelve Waters” also left a reference basis as a reference and model for creation.This is also the method I presented in my creation of depicting ocean waves, combining the outline lines of traditional ink painting to createIt is different from other artists who draw on the seascape. Choose waves based on the context of one's own creation and living environmentWater is used as the experiment and beginning of creation, and we will look for more possibilities in the subsequent evolution of creation. Through the ink and lineThe visual language of the strip depicts the texture of the white lines of the sea waves, and it also repeats the description based on the creative theme of the wavesAnd research techniques, explore the water lines produced by the lines, and give the viewer a simple and quiet experience in the works of ocean wave sceneryAtmosphere, and thinking about how to give a calm artistic conception in creation, and resonate with the viewer, pure wind How to make a deep temperature of the scenery is the subject that my work will explore.