動物化松樹的仙風獸骨──孫竹迪創作論述

本文擬借人格化的松樹作為載體，來探討人與自身、社會的關係，以呈現一種對松樹不同以往的觀察視角。松作為一個非常具有東方氣質的植物，它被中國傳統文化賦予了許多內涵，諸如高潔、堅韌、長壽，但這些內涵都偏向單一、平面。筆者認為松樹的內涵不僅僅只有這些，它應該更多元、立體。文化上松樹是「正人君子」，但自然裡它則只是普通的植物，跟所有的樹木一樣需要競爭、繁殖；廟宇、道觀前經常都種有松樹，仙境的場景佈置和千年不死的壽命讓松樹在瓊樓玉宇中看起來「仙氣」十足。但自然界裡松樹成群結隊，枝繁葉茂，喜愛寒林斜坡，鱗片似的樹皮，蛇形般的樹身，獸毛樣的樹葉，外形上的它們則更顯的「野性」十足。筆者所感受到的松樹動物性特徵是非常強的，充滿著欲望、詭異、血性等。如此一來，松樹的文化屬性和動物屬性就有所衝突，這種有趣的矛盾正是吸引筆者的地方。既然中華傳統把松樹比作「正人君子」，個個「仙風道骨」，那麼只要是人就應該有「七情六欲」，人作為動物就應該有「動物性」。因此，筆者便將松樹的人格化加強，動物性放大，人格化松樹的動物特性則是創作的核心。松樹的一系列創作主要以具象的油畫技法為主，畫面以平面和扁平空間相結合。薄塗的肌理感畫法借鑒了中國的水墨畫的技法，主要用意在於表現松樹內在的精神流動感和不確定性，這種畫法更能讓松樹的內在情感散發出來，感染力更強。

關鍵字

松；人格；動物化

並列摘要

This paper intends to use the personalized pine as a carrier to explore the relationship between people and themselves society, in order to present a different perspective on pine trees.As a very oriental plant, pine is endowed with many connotations by Chinese traditional culture, such as nobility, tenacity and longevity, but these connotations are biased toward thin and flat.The author believes that the connotation of pine trees is not only these, it should be multielement and three-dimensional. In Chinese culture, pine is a "gentleman", but in nature it is just an ordinary plant, and like all trees, it needs to compete and breed;The temples and Taoist temples are all planted with pine trees. In such a scene arrangement, the immortal pine trees look "fairyism" in the pavilion.In the natural world, pine trees are in groups, with leafy foliage, like cold forest slopes, scale-like bark, snake-like trees, animal-like leaves, and their appearance is more "wild". The animal characteristics of the pine trees I feel are very strong, full of desire, strange, bloody and so on.As a result, the cultural and animal attributes of the pines are in conflict. This interesting contradiction is what attracts me. Since the Chinese tradition compares pine trees to "gentleman" and "SAGE-like type," as long as it is a person, there should be "Seven emotions and six desires" . People should be "animal" as animals. Therefore, the author strengthens the personalization of the pine tree, and enlarges the animal character. The animal characteristics of the personified pine are the core of the creation. The series of creations of pine trees are mainly based on realistic oil painting techniques, and the pictures are combined with plane and three-dimensional space. The thinly painted texture of the painting draws on the techniques of Chinese ink painting. The main purpose is to express the inner spiritual flow and uncertainty of the pine tree. This painting method can make the inner feelings of the pine tree more and more infective.