玉筆鈴聲最後一生傳－劉佳達水彩繪畫創作論述

本創作是嘗試一種以水彩繪畫技法，融合其它繪畫技巧來表現玉筆鈴聲最後一生傳的角色，結合不同現實意象景物之題材，以物為鏡，在想像穿梭間造境，內化為個人創作形式，作品呈現一種現實結合幻想的超現實視覺風格，展現不同時空身世與武藝意象，是象徵寓意的交織對話。另一方面，在創作歷程中，因長期於此領域中活動，筆者有感相同的景物在不同時空下逐漸在改變，鑑於傳統民間藝術布袋戲，已漸漸式微，期許能藉本布袋戲之水彩創作紀錄的視覺趣味，來吸引人們對布袋戲文化之關注、省思與興趣，使布袋戲文化能夠繼續被看見、重視、支持、推動與永續傳承下去。本論文整體架構，以五個章節來論述，第一章緒論、說明創作動機與背景、創作目的、創作歷程、創作研究範圍與方法。第二章相關文獻分析與學理基礎探討，深層的了解本玉筆鈴聲最後一生傳金光布袋戲與水彩繪畫創作學理基礎。第三章創作理念、形式與內容、媒材與技法。以水彩創作來詮釋對於台灣傳統民間藝術的情愫與感受。以不同的技法創作多樣化的作品。第四章創作分析與說明，說明作品中的主題內容、創作喻意及心中情境、製作流程。第五章結論與未來展望，希望經由本水彩繪畫創作研究的心得、探究結果作總結與分享，以作為未來創作研究之參考。筆者以玉筆鈴聲為靈魂人物的傳奇戲齣，希望用彩筆將它的故事留下，而更富歷史意義，這將是本創作論述完成後的最大收穫。

關鍵字

金光布袋戲、玉筆鈴聲世外稀、水彩、繪畫創作

並列摘要

This research attempts to apply watercolor painting skills and other related techniques to make the roles in Yubilingsheng’s Last Life reborn in the modern context. Through combining various topics and themes in different realistic imagery, as a mirror, shuttling between created environments, a personal internalized form can be achieved. A surreal visual style is mixed with reality and fantasy, showing different images of life and martial arts, so as to interweave a dialogue with symbolic intention. On the other hand, in the creative process, being active in the field for a long time, I felt the same scene could be gradually changed in different time and space. Given that the traditional folk puppet theater has begun to decline, I hoped deeply that via the puppets’ watercolor creations and the visual effect, as a record of scenes and plots, people can be attracted again to the cultural concerns, reflection and interest about the puppet show; therefore, puppetry culture can be continued to be seen, be valued, be supported, be promoted, and most important of all, be passed down to next generation. The overall structure of this thesis is consisted of five chapters. First chapter is about the description of creative motivation and background, purpose and process of creation, theoretic resources and research methods. Chapter two is to provide literature review of Yubilingsheng’s Last Life made by Golden Light puppet studio and theoretical foundation of watercolor painting and creation, with a particularly profound viewpoint. It is focused on how to combine watercolor techniques with puppets’ interpretive presentation. Chapter three is to discuss on creative idea, form and content, media and techniques. Taiwanese traditional folk art and its emotion and feelings are interpreted through various created works with different techniques. Chapter four is to analyze my paintings and to explain main content, creative significance, expressive sentiments, and production processes. Chapter five is to give a concluding remark and a kind of outline for future prospective. It is hoped that through this theoretic discourse on watercolor arrangement and presentation, the created art work, and shared research results, a useful reference can be provided for the future research. I took Yubilingsheng, a soul figure in the legendary play, as my inspiration, with the deep hope that I can pass down the whole stories and enrich his historic significance with my brushes. Indeed, this will be the greatest harvest after the completion of my thesis and art work.