| 摘要: | 就讀研究所已幾近兩年了，在還未修完課程時，筆者已迫不及待地躍入了繪畫的領域裏去享受創作的喜悅，及沐浴在充滿靈性的活泉中。當然，筆者在繪畫創作之餘，為了解決創作所面臨的各種畫面處理問題，不單師法前人的繪畫風格和典範，並參考中西名家作品及畫論作為自我創作之省思。本論文共分為七章：第一章「緒論」，敘述、說明研究創作的動機、目的、內容、範圍，以及研究的方法與理論。第二章「再現」自然的山川河水，描述英國風景畫家對後輩藝術家們的影響，並列舉透納與希斯里的畫作作一詳細的比較。第三章「虛、實」呼應的大自然景觀，以霧氣瀰漫的「虛」和蒼翠俊秀的「實」作為風景畫的探討主軸，使之成為筆者自我創作的重要參考依據。第四章創作理念與學理基礎，以英國派與印象派的風景繪畫形式與特色，探討自然環境與生命的根源。第五章創作的形式與內容，以大塊色面的鋪陳與細部精緻的描繪深入分析、探討水景風景畫的內容形式與表現要素。第六章「作品賞析」，筆者依據前面幾章的理念，以自我創作的方式實際操作，且就作品內容的形式及自我創作的理念，逐一介紹、分析筆者的畫作。第七章「創作省思與展望」，針對日後創作的起點和調整作一審慎的省思，展望此階段的作品能激發起觀賞者的共鳴與互動且讓筆者的創作能更往前踏一大步。
After having studied in the postgraduate school for nearly two years, and before finishing the study program, the author could hardly wait to jump into the realm of painting to enjoy the joy of creating, and be immersed in the running foundation of spirituality. Naturally, the author, besides the time spent in painting creation, has not only attempted to mirror the predecessors’ painting styles and ambience, but also reflected on renowned Eastern and Western painters’ artwork and painting theories in pondering whose own creative thoughts. The thesis is divided into seven chapters: chapter I, introduction, which describes and explains the creative motion, objective, contents, scope, research methodology and theories. Chapter II, the resurgence of natural mountains and rivers, which describes the influence of British landscape painters to later artists, together with profiling Turner and Hillis’ painting works with in-depth comparison. Chapter III, natural landscape echoing virtuality and reality, explores the core of landscape painting with the virtuality of permeating mists and the reality of a lush green majestic ambience, which serves as a vital premise in culminating the author’s self creativity. Chapter IV, the creative concept and theoretic premises, explores the natural environment and the source of life using the British school and the Impressionism’s landscape painting from and feature. Chaper V, the creative from and contents, analyzes in-depth the layout of large color locks and detailed and refined depiction to explore landscape painting’s content format and expression elements. Chapter VI, a select artwork appreciation, covers the author’s self creative mode using the concepts stated in the foresaid chapters, and introduces and profiles the author’s artwork in relation to the content format and self creative concept. Chapter VII, the creative reflection and vision, provides a stringent reflection to the starting point and adjustment of the author’s later creative venture, anticipating that the current stage’s works could aspire the viewer’s harmony and interaction, and further excel the author’s creation to move forward a greater step. |
