從臺韓水墨發展脈絡的應與變探討康倫禎「細‧密境」創作

本文試圖藉由爬梳從1960年代開始幾位韓國與臺灣水墨畫家的作品、時代背景、文化發展等情況，藉以瞭解韓國與臺灣現代水墨畫發展。同時亦參考美術評論家和藝術家的論述，比較韓國與臺灣現代水墨畫跟過去的差異和發展變化，做為個人水墨創作開展之參照。因爲韓國與臺灣水墨界的發展在1960年代都有劇烈的變動，因此筆者決定從60年代研究至現今來探討水墨界的流變。筆者至臺灣留學期間，對於韓國、臺灣的水墨畫發展與其美術史試圖做進一步的比較研究，尤其對於臺灣之自然文化、環境、社會也有更深入的體會和充分的了解。筆者更發現臺灣和韓國在水墨畫發展之現代化的過程，其背景十分相似。在過去畫家們所活躍的時代背景和潮流中，他們發展出許多富含特色的創作和個人風格，雖然筆者所吸收、學習和內化的知識很難以一概全，但也成為了筆者的創作養分。再者，本文也呈現筆者在韓國與臺灣兩個不同時期的創作心路歷程，並嘗試使用不同媒材進行創作，找尋自己未來水墨發展之方向。筆者的創作主題是山水，並且一直以來秉持著精緻、細密的創作理念, 如同筆者的個人展覽「細·密境」中的意境表現，並探討「意境」在現今山水畫的創作和欣賞中是否仍具有效果。對於新一代的水墨畫家來說，山水畫被認為與西方風景畫相似，也被視為是過去一種典型的傳統繪畫，因此山水畫的認同感逐漸被遺忘。因此本論文中，以山水畫為主軸，擬將意境及其作品進行用現代的語言和概念來分析並將其與本人的山水創作理念聯繫在一起。從現在追溯到過去，不僅可以理解山水畫，還可以研究山水畫發展的可能性，進而從真正的意義上繼承傳統藝術。在表現手法方面，筆者平常使用的是硬筆(ink pen)繪畫而非傳統毛筆。筆者認為藝術不限媒材，當代藝術家可以研究並以各種媒材來創作山水畫，也希望透過在臺灣的學習經驗，擴展筆者水墨畫發展的各種可能性。

關鍵字

韓國；臺灣；水墨；硬筆(ink pen) ；山水畫

並列摘要

This thesis attempts to understand the development of modern ink paintings in Korea and Taiwan from the 1960s by the works of Korean and Taiwanese ink painters, the background of the times, and the development of culture. At the same time, with reference to the statements of art critics and artists, the differences and developments of modern ink paintings between Korea and Taiwan are compared with the past ones to be a reference for the development of personal ink painting. Because the development of the ink and wash circles in Korea and Taiwan changed dramatically in the 1960s, I decided to explore the evolution of the ink art from the 1960s to the present day. During my study abroad in Taiwan, I tried to make further comparative studies on the development of ink painting in Korea and Taiwan. I also have a deeper insight into the natural culture, environment and society of Taiwan. I thus found that the processes of modernization of ink painting development in Taiwan and Korea are very similar. In the past, when the artists were active, they developed many creative and personal styles. Although the knowledge I absorbed, learned and internalized is too many to mention, it has become my inspiration. Furthermore, this article also shows my different painting psychological journey in Korea and Taiwan and my attempts to use different materials to create, pursuing my career towards ink art. The theme of my paintings are landscapes, and I have always been adhering to the exquisite and elaborate concept of creation, like the artistic conception of my personal exhibition "exquisite and secret wonderland", and explores whether the artistic conception is still effective in modern ink art. For new generation ink painters, landscape paintings are considered a kind of classic traditional paintings in the past but similar to western landscape painting. Therefore, the identity of landscape painting is gradually forgotten. In this thesis, I took landscape paintings as the main point, planned to analyze the artistic conception and its works with modern language and concepts, and associated it with my own landscape creation concept. Tracing back to the past from modern times, we can not only understand landscape painting, but also research the possibility of the development of it to inherit traditional arts authentically. In the aspect of ways to express, I usually use ink pen instead of a traditional brush. I believe that art is not limited to materials and that contemporary artists can research and create landscape paintings with various materials. I also hope to expand the possibilities of the development of ink painting.