篆體應用於繪畫之創作研究

本研究主題為「篆體應用於繪畫之創作」，透過文獻探討縝密爬梳所提出之觀點，作為實踐作品之參考，以「小篆應用於繪畫之創作」與「印篆應用於繪畫之創作」為題，進行個人創作思維與實踐。本文分為八大部分，第一章緒論內容包含研究動機與目的、研究內容與流程、研究方法與範圍、名詞釋義及文獻探討。第二章分為以趙孟頫、趙之謙以及吳昌碩為例，對以「以書法的筆調融入之繪畫」的創作方式來做深入的研究。第三章搜集古今各種以漢字為元素之傳統圖案，希望透過其料彙整與分析，對於個人創作有參考。第四章分別以呂佛庭、陳正雄、李錫奇、程代勒四位台灣的藝術家為例，對以書法為元素之繪畫創作來做研究。第五章，回顧「藝中求同 / 2009華文漢字設計週」為例，呂勝中在《意匠文字》上所提出的概念作為切入點，透過現代設計領域之「以漢字為元素之設計」，所提出之觀點進行探討其思維與表現方法，作為後續個人創作研究之參考。第六章，透過文獻探討縝密爬梳所提出之觀點，作為實踐作品之參考，以「小篆應用於繪畫之創作」為題，進行個人創作思維與實踐。第七章，從印篆的見解為創作思維，以「印篆應用於繪畫之創作」為題，透過路徑於電腦排字、修潤，以及運用水墨、膠彩、貼金箔等筆者善用的表現技法，混搭並用，進行「印篆應用於繪畫之創作」研究與實踐。最後第八章結論的部分，透過本研究「篆體應用於繪畫之創作」，才能將曾經受美術教育的基礎，以及自我創作脈絡變成個人「面貌」，透過個人創作實踐反覆地推敲和修改，「面貌」串成自己的風格，鮮明地提出自己的新觀點。

關鍵字

水墨創作；以書入畫；書畫融合

並列摘要

This study aims to discuss the application of seal characters in paintings. Literature study is performed to examine and summarize various ideas as a reference for practical creation. Furthermore, personal creative thinking and practice are proceeded with by the themes, “the application of the Small Seal Script in painting,” and “the application of seal characters in painting.” The thesis consists of eight sections. The Introduction explains the motive, purposes, content, method and scope of the study, as well as the glossary and literature study. In Section Two, the works of Meng-fu Zhao, Zhi-qian Zhao and Chang-shuo Wu are referenced as examples for in-depth deliberation on the integration of calligraphic styles into paintings as a means of creation. For Section Three, ancient and modern traditional images based on Chinese characters are collected and analyzed in hopes to build a reference for personal creations. Calligraphy-based painting is discussed in Section Four with the examples of Taiwanese artists Fo-ting Lu, Zheng-xiong Chen, Xi-qi Li and Dai-le Cheng. Section Five reviews the 2009 Chinese Character Design Week from the perspective argued by Sheng-zhong Lu in his book “Yijiang Wenzi; Design and Characters,” and probes into Lu’s concept and expression techniques through the perception proposed through the “design based on Chinese characters” within the realm of modern design. Reflections are examined for reference for future research. Ideas from literature study are specified in Section Six as a reference for practical creation, while personal creative thinking and practice are proceeded with by the themes, “The application of the Small Seal Script in painting.” Section Seven describes the study and practice of “the application of seal characters in painting” based on the notion of seal characters. The creation theme is fulfilled through digital typesetting and enhancement, as well as a combination of various artistic techniques the author has mastered, including watercolor, Eastern gouache and gold leaf gilding. Section Eight draws conclusion that, through the study of “the application of seal characters in painting,” one may turn the art education background and personal creation context into unique “features.” Vivid new perspectives may be presented after an individual style is constructed with such “features” through repeated contemplation and improvement of one’s creative practice.