花遊記-林素玲油畫創作研究

花遊記，乃是取花卉為主要題材，以油彩、亞麻畫布為媒介，融滙西方繪畫、中國繪畫、日本繪畫的理念、技巧，結合中外著名詩作、中國文物器皿、生活中特殊的感受或回憶；來完成本論文之繪畫創作。花遊記，包含四大主題內容，詩、椿、瓶花、蒲公英系列；以具象、或意象、或抽象來呈現。詩；所謂詩中有畫、畫中有詩，將讀詩的感動、幻想，轉換為永恆的圖象，與觀者共享。椿；筆者以特別喜愛的茶花為主題，用中國畫的聯作、日本屏風畫的方式呈現，既可單幅微觀、也可多幅構成大景欣賞。瓶花；運用中國古老的青銅彝鼎、陶瓷瓶為盛花器皿，自然和人文、舊與新的溫柔相濟，以具象來完成；引觀者既可欣賞花卉的自然之美，也可沉浸於古玩的思古幽情裡。蒲公英；以意象、抽象的形式來呈現，單純運用色彩，恣意擦、搓、拓印、滴流來構成畫面意境。透過美術史相關的文獻蒐集與整理探究，建構本創作論述，共分五章。第一章緒論，包含創作動機與研究目的、研究方法與架構、研究範圍與限制。第二章創作學理基礎，包含西方與東方花卉藝術之發展與精粹，詩與電影之選擷，茶花與蒲公英之自然形態與文化意涵。第三章創作理念、內容、形式、媒材與技法。第四章作品解析，包含對個別作品作色彩、構圖、意涵的說明。第五章結論。藉由本研究不斷的探索與修正，持續地擴展筆者創作的發展內涵與風格。

關鍵字

花遊記；花卉；詩與畫；瓶花；椿；蒲公英；油畫

並列摘要

The main theme of Flower Journey is flowers. The painter (also the author) uses paint and canvas as the medium and integrates the concepts and techniques of Western painting, Chinese painting, and Japanese painting to complete her creation. Also, she tries to put her emotions after reading some Chinese and foreign poems, toward Chinese artifacts, and memories of her life into her creation.Presented in figurative, imaginative, or abstract ways, Flower Journey contains four main themes: poetry, Camellia, vase flowers, and dandelion series. 1. Poetry: As a Chinese poem says, there is a painting in a poem and a poem in a painting. The painter tries to transform the emotions and fantasies of reading poetry into eternal images to share with the viewers. 2. Camellia: The painter uses her favorite flower Camellia as the theme and presents it in the form of polyptych or screen painting. Being divided into sections, a polyptych can be viewed as multiple single images or as multiple panels for a large view. 3. Vase Flowers: By using ancient Chinese tripod cauldrons (bronze Ding) and ceramic vases as flower vessels, the painter tries to blend natural objects with man-made things and the old with the new to complete this theme. While appreciating the flowers and the antiques, the viewers can immerse themselves in the beauty of the nature and the thought of the past, too. 4. Dandelions: This series is presented both in the form of imagery and of abstraction. Using color alone, the painter not only rubs on and rubs off but also twists and drips at will to create the mood of those pictures. This creative discourse is constructed, through art history related literature collection and investigation, and divided into five chapters. The first chapter contains the introduction, including the motivation for and the purpose of creation, the research methods and framework, and the scope and limitations of the study. The second chapter contains the theoretical foundation for the creation, including the study and extraction of Western and Eastern floral art, selected poems and films, and the natural forms and cultural significance of camellias and dandelions. The third chapter includes a discussion about the concept, content, form, media and techniques for the creation. The fourth chapter explains the use of colors, compositions, and meaning of the individual works. The fifth chapter concludes this research paper. Through continuous exploration and revision of this study, the author (also the painter) wishes to enhance her creativity and art style.