描繪不完美生命 — 吳宗翰繪畫創作研究

一次在合歡山上攝影的小腿骨折意外讓專注從事醫療工作的筆者開始學習油畫，也重新回到最喜歡的繪畫領域。從小對生命科學的興趣以及日後從事臨床醫療的緣故，人的種種生命狀態是筆者執業過程中必須每天直接面對和處理的課題，而人們面臨的諸多生活、社會和環境議題也都直接或間接與生命課題相關，筆者參與其中也投以關注。生而不平等與後天環境交織下，有人為了糊口而勞動工作，也有人為了群體幸福而挺身付諸行動。因爲個體易受傷害性（vulnerability）的差異，疾病與死亡也不公平的造訪那些脆弱無助的人們，再度凸顯不完美生命的本質，並讓宗教信仰成為世人尋求慰藉的寄托。號稱萬物之靈卻並非完美的人類以私心主宰著這個星球，不意外的造就了一個不完美的世界。筆者告別三十年的醫師生涯，選擇以繪畫創作從生活、醫學、宗教信仰和不可知的未來探討生命的不完美。筆者以具象繪畫創作表達對上述議題的關注，並期待開啟一個契機讓更多人能將目光停留在這些議題上並思考與關注。本論文第一章說明筆者學習油畫的緣起及研究目的與範圍，第二章討論社會課題於過去被關注的面向及其意涵，第三章介紹創作理念、內容、形式與技法，第四章為作品說明，第五章是論文的結論。

關鍵字

不完美；生命；社會寫實；醫學

並列摘要

A fibula fracture accident while photographing on Mount Hehuan made the author, who was a hard-working physician, start to learn oil painting and get back to his favorite. Because of being interested in life science since childhood and becoming a physician, the various status of life is the subject that the author dealt with every day. Social and environmental issues and livelihoods that people faced are directly or indirectly related to life issues, which the author participated in and paid attention to. Under the interweaving of inheritance and acquired environment, some worked hard for life, while others stood up and fought for the well-being of the people. Because of individual differences in vulnerability, disease and death unfairly affect those vulnerable and helpless people, once again highlighting the nature of imperfect life, which make those people draw sustenance from religious beliefs. Human beings, known as the paragon of animals but yet imperfect, have ruled this planet with selfishness. It is not surprising that humans have created an imperfect world. The author bid farewell to his 30-year career as a physician and chose to explore the imperfection of life from life, medicine, religious belief and the unknown future through painting creation. The author expresses his concerns at the above-mentioned issues through figurative painting creation, and looks forward to creating an opportunity for more people to focus on these issues. Chapter one explains the origin of the author’s study of oil painting and the purpose and scope of the thesis. Chapter two discusses the aspect of social issues that have been paid attention to in history of painting and those implications. Chapter three introduces the creative concept, content, form, and techniques. Chapter four elaborates on the author’s works. Chapter five illustrates the conclusion of the thesis.