沉默的悸動──花卉意像繪畫之研究

在人類歷史發展當中，花卉與人類的生活與文化息息相關，舉凡食用、藥用、觀賞、社交禮儀、宗教慶典等等，無一不與人類的物質文化與精神領域相連繫。舉凡文學作品、藝術的領域裡，以花卉作為題材的千古名作不在少數，正因花卉特有的美感與雅逸，能溫暖、潤澤人類的心靈、豐富人類的精神生活。而花卉更在歷代文人與藝術家的巧筆下，溶入了情懷與思想，將花卉引領至更崇高的意涵層次與藝術境界。若要嘗試在美的領域中，能超越時空背景，能不分國家、種族、文化、地域、性別與年齡，能夠擁有屬於共同且共通的審美觀，作為美的感知對象的話，筆者相信，花卉會是蠻好的代表例子。正因花卉因其生長環境、對季節與其風土的適應，外觀與特性上的不同，加上地域性民俗性文化，人類總能在不同花卉裡找到與自己精神上相對應的特質，作為援引與象徵的對象，如梵谷將向日葵視為對好友高更的熱切友情。探究到花卉在東西方藝術史中的發展前期中，「西方為裝飾，東方為藝術」，西方將花卉做為獨立主題入畫已經是約十六世紀末期；而在中國宋代(960-1279)期間，花鳥畫已被視為是獨立的畫科，發展到極高的水準。本研究著眼在探討花卉在平面繪畫創作上的應用，本文共分六章。第一章緒論，包含前言、研究花卉的動機與目的。第二章創作理念的脈絡，並探究東方與西方巨匠以花卉作為主要題作品的脈絡研究。第三章創作的學理基礎，從西方靜物畫中的花卉圖像發展、以十六、十七世紀花卉靜物畫做為分析研究對象。第四章介紹花卉系列作品的內容、形式、表現技法與媒材。第五章則是花卉系列作品說明。第六章為此研究的結論、關於創作的體悟及期許。

關鍵字

花卉；情感；靜物畫

並列摘要

In the human history development, flowers are closely linked to human life and cultures, including diet, medicinal purpose, admiration, social etiquette, religious celebration and so on are all connected with human material culture and spirit domain. It is not infrequent that flowers are used as an eternal theme celebrated literary works and the artistic domain, this is because flowers has its unique esthetic sense and elegant leisurely which warms, refreshes and enriches human spiritual life. And the flowers in all previous dynasties’ writers and artists' skillful writing, having merged the mood and the thought that eagerly leads the flowers to the loftier meaning level and the artistic boundary. In the beauty domain, if we attempt to find a target as the beauty sensation object which can surmount the space and time background, without classifying the country, the race, the culture, the region, the sex and the age; moreover having mutual and common aesthetic standard, I believe that the flowers would be a very good representative example. Just because flowers are different from its habitats, the adaptation to the seasons and local conditions, in addition to regional and folk custom cultures, people can always find the different flowers which correspond to their spiritual characters as the achievement cites and the symbolic objects, such as Van Gogh regarded the sunflowers as the earnest friendship to his good friend Gauguin. Investigating into flowers in earlier period of East and West art history development, “the West is for decoration, and the East is for art”, when the West made the flowers for the independent subject paintings was already around the end of 16th century; however the flower-and-bird paintings were already regarded as the independent picture subject since Chinese Song Dynasty (960-1279) which developed it to the summit standard. This research focuses on the discussion of application in plane drawing creation of flowers; this theme is divided into six chapters. The first chapter is the introduction, containing the foreword, the motive and purpose of flower research. The second chapter is the research of the creation idea trends, and inquired into that the Eastern and the Western great masters who took floors as the main topic in works. The third chapter focuses on the creational academic theory foundation, from the Western still life painting of flower images development, taking 16th and the 17th century flower still life paintings as the analytical object of study. The fourth chapter is for introducing flower series work content, form, performance technique and intermediary material. The fifth character is the description of flower series works. The sixth chapter is the conclusion for this research, within the realizing and hope of creation.