| 摘要: | 有關「樹木」這個創作題材東西方繪畫中皆多有所著墨，樹木最早擔任的只是畫面的陪襯角色而已，隨著畫家創作思想的演變，當創作主題越趨向於表現自然的同時，樹木就成為了自然界的最佳表徵。
筆者首先列出樹木在西洋繪畫中的演變過程，以及西方畫家如何藉由樹木本身，賦予畫面不同的情感及氛圍。樹木在文藝復興時期（Renaissance），由於人文思想的崛起，只是負有襯托主題人物背景的任務，然巴洛克時期（Baroque），畫家開始在歷史故事的繪畫主題中，加入了自然的元素，大大地提昇了樹木在作品中出現的份量。浪漫主義（Romanticism）時期的樹木，逐漸躍升為繪畫的主題，當時的畫家們熱衷於田園景致的描繪，而田園中經常會出現的景物即是樹木。此時的畫家專注於表現光線及空氣流竄樹木間的種種變化，而這種表現技法也直接地影響到日後興起的印象派（Impressionism）畫家們。
描繪樹木這個主題的印象派畫家中，尤以畢沙羅（Camille Pissarro，西元1830-1902）最為翹楚，畢沙羅一生都在歌頌自然的美麗，在畢沙羅漫長的繪畫生涯中，樹木成為他不斷出現的畫作主題。其筆下所描繪出的樹木，經由畢沙羅不斷地嘗試新的表現手法，呈現出不同的自然面貌，當然，始終不變的是畫面帶給觀賞者真實接觸自然的無窮感受。
樹木在東方的中國繪畫中，與早期的西洋繪畫相同，僅是一襯托出主題的配角而已。直到五代以後，山水畫逐漸地成為中國繪畫的主流，使得樹木竟成為主要的繪畫題材。中國繪畫藝術向來講求的即是將修養思惟與自然景物結合一起，並在表現自然萬物的靈魂時，注入了「老莊思想」中的「道法自然」觀念，意指畫家必須透徹地瞭解自然的本質。而這正是東方繪畫與西方繪畫最大的差異之處。
但東西方繪畫仍然有其共通之處，特舉出與西方印象畫派畫風有著相同表現技法及精神的東方畫家黃賓虹（Huang Bin-Hong，西元1865-1955）為例，作為理論的實證。在面對自然創作時，黃賓虹與印象派畫家同樣地都以寫生為出發點，從接觸自然開始，忠實地表現出自然的風貌，再透過自然的千變萬化領悟出樹木的創作技巧。在此種思惟下，黃賓虹與印象派的畢沙羅透過皆選擇以具有情感的線條來詮釋出自己所描繪的樹木，再搭配上柔和的色彩及濃重的短筆觸，使得筆下的樹木得以成為自然界的象徵性符號。
本論文希望藉由東西方的樹木代表性畫家-畢沙羅與黃賓虹等兩位，經由其畫筆下的生動樹木形象，探討東西方畫壇在樹木的描繪技法上，如何跨越不同國界、不同時代，展現出相同的思想及表現手法，進而用來讚美自然界的美麗及奧妙之處。
關鍵詞：自然界的象徵符號、自然面貌、道法自然、樹木
Trees have always been one of the major themes in both Eastern and Western paintings. Initially its whole purpose was to create contrasts in the picture. As the artists focused on the nature more and more, trees became one of the best symbols on the subject.
In this paper, I first described the changing roles of trees in the Western paintings. During the Renaissance period, trees are a minor subject, compared to the human subjects. As the philosophy of humanities developed through out the Baroque years, the artists turned their eyes to the nature and therefore trees were seen more and more frequently in the paintings. In the Romanticism age, trees became the major subject of the paintings. The artists yearned for portraits of the countryside, especially the light and airflow around the trees. This way of paintings also influenced the Impressionists in the later years.
Camille Pissarro is a well-known Impressionists describing trees as the symbols of the nature. During his long professional career, he sang the praises of nature from various angles to interpret the trees. Through with different paintings, Pissarro never failed to express the reality of nature.
Also in the Eastern paintings, trees served as the contrast in the beginning. After the Five Dynasties, landscape paintings became the main stream of drawings, trees earned its role in the pictures. On the contrary to solely feel the reality of nature, Chinese artists tried to combine the philosophy and the reality together. Just like the so called “Magic arts nature” of Lao-Zhuang thoughts, the artist should first understand the innate characteristics of nature, then he could describe it by painting. This is also one of the major differences between the Eastern and the Western paintings.
But I believe there still are similarities between these two schools of paintings. Huang Bin-Hong was one of the famous Chinese artists with similar ways of paintings as those of the Impressionists. He started from sketching the nature. Combining smooth colors and dense strokes, he successfully let the trees become the symbols of nature, just as those great development achieved by Pissarro.
This paper tried to discuss the similarities and differences of describing the nature between the Eastern and Western paintings. By comparing the methods of drawing the trees between Huang Bin-Hong and Pissarro, I believe that even in different years and different areas, some similarities should still be developed to praise the beauty and the magic of the nature.
Keywords: Symbols in nature, Natural appearance, Magic arts nature tree |
