| 摘要: | 本論文從現代書法藝術的省思，意圖藉晚明五書家（張瑞圖、黃道周、倪元璐、王鐸、傅山）書法造形風格和現代抽象藝術結合並透過晚明五書家之間的書法關聯性與共通性，擷取其作品之抽象書法線條與造象，以油畫媒材創作與水墨書法抽象不同的個人「書象」藝術。
本論文亦針對與本論文相關的書法與抽象上的問題進行探討。由書法的幾種名稱與意義、書法的幾種體勢及由書法的結構、用筆、抽象意味與審美問題來針對關於書法作為一種藝術的獨特問題來探討與本論文相關的幾個書法問題；另由關於冷抽象和熱抽象理論來探討與本論文相關的一些抽象藝術問題。
本論文共分為七章，第一章是緒論，說明研究動機、研究目的、研究方法、特殊名詞釋義。第二章探討與本論文相關的幾個書法上的問題。第三章探討與本論文相關的一些抽象藝術問題。第四章是創作的理念，為個人創作主題－書法抽象「書象」之想法理念說明。第五章為創作的實踐，利用晚明五書家之抽象書法線條造象書法抽象「書象」的構圖、線條、顏色、背景的設定（紋飾）之原則說明。第六章為作品風格介紹與分析，將作品分類為「張瑞圖書象系列」、「黃道周書象系列」、「倪元璐書象系列」、「王鐸書象系列」、「傅山書象系列」五系列並加以說明。第七章是結論並期望能將書法抽象「書象」藝術之創作理念延續，變化多元可能。
關鍵字：書象、書法、抽象、晚明書家
On the basis of an introspection over the modern calligraphy art, modeling manner demonstrated by five calligraphers of the late Ming Dynasty (Zhang Ruitu, Huang Daozhou, Ni Yuanlu, Wang Do and Fu Shan) in their calligraphic works is combined with modern abstract art. In doing so, the thesis identifies the correlation and commonality among the works of these five artists from which abstract calligraphic lines as well as image patterns are extracted, and an abstract art form different from traditional Chinese ink and wash painting — the unique Calligraphic Image art is created through the agency of oil painting tools.
The thesis also involves discussions on calligraphic issues and abstraction issues related to the themes here. As for the calligraphic issues, different denominations of calligraphy and their connotations, as well as the style, the structure, the strokes, the abstract implication and the aesthetic value of calligraphy are reviewed to explore the unique proposition as to treating calligraphy as an art. On the other hand, the theory of cold abstract and hot abstract are used to inspect relevant topics on abstract art.
The contents of this article fall into seven chapters. Chapter 1 gives an introduction to the motive, the objectives, and explains the meanings of a few proper names. Chapter 2 engages itself in the discussion of several calligraphic issues and Chapter 3 of issues related to abstract art, all of which are pertinent to the main themes discussed in this thesis. Chapter 4 presents the author's idea on artistic composition, and Calligraphic Image, an art form based on that very idea, is introduced. Chapter 5 concerns artistic practice, while principles on how to employ the abstract lines in the calligraphic works of the five Late Ming calligraphers to develop the layout, the lines, the colors and the background (eg., decorative patterns) of a calligraphic image are explained. Chapter 6 focuses on presentation and analysis on the artistic styles of the five Late Ming calligraphers, and five Calligraphic Image Series named after each of them (Zhang Ruitu, Huang Daozhou, Ni Yuanlu, Wang Do and Fu Shan) are complied and described. Chapter 7 is the ending part of this thesis, it draws conclusions and talks about the expectation that the idea of calligraphic abstraction could evolve to bring in the possibility of diversification for the art of Calligraphic Image in the future.
Key words: Calligraphic Image; calligraphy; abstract; Late Ming calligraphers. |
