璀璨彩粧—敦煌新意 林美娥創作論述

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題名:	璀璨彩粧—敦煌新意林美娥創作論述
作者:	林美娥
貢獻者:	藝術研究所美術組碩士在職專班
關鍵詞:	敦煌新意彩粧藝術水墨風貌
日期:	2010
上傳時間:	2011-11-07 13:01:21 (UTC+8)
摘要:	身處現代藝術思潮的衝擊，應該對傳統水墨藝術觀念時時思考、反省，進而與現代藝術互相融合、重組才能使創作有多樣性的當代詮釋，藉本篇論文研究，除讓筆者對於傳統水墨藝術觀念與現代藝術思潮融合運用之外，也對早期敦煌壁畫之法相、與現代女性璀璨彩粧做結合，並融入形式結構之應用，期讓自己的繪畫產生新風格。本創作研究非宥於傳統繪畫素材，以真人化粧品取代繪畫顏料，以增進水墨的變化，力求新的詮釋能激發出新的藝術美感。本論文在研究「璀璨彩粧」中轉藉敦煌壁畫佛教人物之向度、結構、精神和美學觀的演進，做為創作之變化。在實際創作中，將粧與畫之間理出縝密的連結進而成為創作之蛻變。其目的在闡述璀璨彩粧具有之藝術性內涵，因在彩粧的色彩上追求「瑰麗」的表現，並在筆、墨、色間互融，達到「渾然一體」，進而使色彩能提煉出神韻表徵，為水墨人物畫帶來精神及獨特性，塑造「敦煌新意」是筆者水墨創作的訴求。本論文的研究架構是從美學觀點、意象表徵、表現技法、繪畫素材……等角度切入，從敦煌壁畫中的人物彩粧藝術追溯到中國彩粧美學及敦煌壁畫技法與真人彩粧繪畫之相通性，如敦煌線描藝術與真人眼線藝術、敦煌賦彩敷染與真人修容藝術，從原始敦煌的壁畫傳統工法和繪畫素材比對中國彩粧史的發展，將引述出中國繪畫美學和彩粧審美智慧之涵融是密不可分，也由此印證出粧畫同理於技巧上、粧畫同源於材料上、粧畫同求於藝術上。筆者把這三特點轉化為水墨畫創作之原則。彩粧美學與色彩學於創作之涵融，藝術畫家以點、線、面做為繪畫構圖的起始點，色彩為畫家的語彙；彩粧也是以點、線、面做為開臉繪畫元素的起始點，色彩的意，色彩的象也是造型師內心世界語彙，繪畫的審美以構圖的結構，色彩應用及表現形式為審美觀感基石；臉部彩粧也是依五官結構之位置經營，色彩應用及表現形式引為審美觀感定論，由此可證，彩粧與藝術是相通，筆者主張它是一科具有人性生活化的「顏面藝術」，企圖在粧與畫之間相互連結，進為粧畫合一，做出新的可能性，期望能呈現出一種既有傳統重彩水墨精神，又有當代性語彙的水墨畫作品。在真人實作之理論與實踐中探討的是因應時間、地點、場合而確立主題之彩妝配色原則:同色相的配色、和諧色相的配色、對比色相的配色、色彩的明、暗度、彩度、色調的冷、暖色系。及真人實作照片呈現。彩粧創作研究方式有三種:一、紙圖彩粧實作法。二、真人彩粧實作法。三、蟬翼宣彩墨彩粧繪畫法。因應時間、地點、場合主題的確立進行創作。本創作研究把化粧造型元素融入繪畫，再結合藝術理論中的視覺審美觀，進而加以潤飾，把創意融入中西繪畫藝術，使彩粧繪畫出精、氣、神的體現，進而達到真、善、美境界之藝術璀燦彩粧。筆者藉此創作企盼引領出三種發展方向：1、現代女性對於自己臉部彩粧藝術之提昇。2、融入敦煌新意，續發揚光大。3、真人化妝品顏料研究創新。上述三者能讓筆者在現代多變的藝術潮流中，選擇最合適自己個性的創作理念，在繪畫領域中永無止境的發展出筆者的繪畫風格，進而畫出水墨風貌的時代精神。 In this innovating era, the ways of expressing traditional water-ink art should be integrated with modern art in order to create a variety of art pieces. This study not only allows the author to integrate the traditional water-ink art concept into modern art thinking but also enables the author to create his new painting styles through the integration of the Buddhist Statues of Dun-Huang Wall Painting and the brilliant cosmetics as well as the structured application. The creation of this art work replaces traditional pigments with human cosmetics to improve the variation of water-ink painting and stimulate new interpretation and aesthetic. In this study of “brilliant cosmetics”, the dimension, structure, spirit and aesthetic revolution of the Buddhist Statues of Dun-Huang Wall Painting were transformed into creation. According to the actual creation of works, the author established a link between cosmetics and painting to seek a change for his creation. The purpose is to describe the artistic value of cosmetics. The color of cosmetics was “magnificently” presented and the water, ink and color were presented as a “unified entity” which enables the color presenting the charm, spirit and characteristic of the figure on water-ink painting. Creating “Dun-Huang New-Thinking” is the author’s demand for creation of water-ink painting. The structure of this research is based on the aesthetic viewpoint, surface features, interpreting skills, painting pigments. From the cosmetics art of the figures on Dun-Huang Wall Painting to the similarities among Chinese cosmetics aesthetics, skill of Dun-Huang Wall Painting and human cosmetics such as the difference between the line drawing of the Dun-Huang Wall Painting and the human eye-line drawing and between the color dye of the Dun-Huang Wall Painting and human makeup, it is found that Chinese painting aesthetics is closed linked with cosmetics aesthetics. This further proves that the makeup and painting come from the same skill, source of materials and arts. The author has transformed these three characteristics into his creation principles. The cosmetics aesthetics and chromatology are integrated with each other. The painters take the point, line, plane as origin to compose a picture. The color represents the painter’s words. Likewise, the elements cosmetics are also on the basis of point, line and plane. The color also represents the designer’s inner world. The appreciation of the painting’s beauty is based on structure, application of color and interpretation. The structure of facial cosmetics is also rest on the position of facial features. This proves that the cosmetics and arts are interlinked. The author views it as a user-friendly “facial aesthetic” and attempts to draw a connection between cosmetics and paintings to create new possibility. It is hoped to present a water-ink painting with both traditional and modern spirits. Through theories and practices, this study discussed the theme color combination according to time, location and occasions. This includes the combination of similar color, harmony color and contract color, brightness, darkness, colorfulness, cold and warm color tones,and the presentation of human pictures. The research methods of cosmetics creation include: 1. paper cosmetics composition. 2. human cosmetics composition. 3. water-ink cosmetics composition. The creation is made according to time, location, theme of occasion. The creation of this study integrates the cosmetics element into painting. Based on the visual appreciation of beauty, the creation was combined into Chinese and Western arts of painting to show the energy, vitality and spirit of cosmetics painting and further achieve the true, good and beautiful state of cosmetics art. Based on this creation, the author hopes to introduce three development directions: 1. improve modern women’s aesthetic sense of facial makeup. 2. integrate the Dun-Huang New-Thinking into modern art to enhance the glory of painting. 3. Innovate of cosmetics pigment. The above mentioned points allow the author to select the most appropriate creation concept among various artistic trends in order to develop his own painting style to paint the spirit of era of the water-ink painting.
顯示於類別:	[美術學系所] 博碩士論文

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