「方向•符號」-李靜芬水墨創作論述

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Title:	「方向•符號」-李靜芬水墨創作論述 An Explorative Dissertation of “Direction and Symbol” on Ink Wash Painting by Lee Ching Hoon
Authors:	李靜芬 LEE, CHING HOON
Contributors:	美術學系
Keywords:	方向符號水墨畫 direction symbol ink wash painting
Date:	2014-07
Issue Date:	2014-09-04 11:36:21 (UTC+8)
Abstract:	本論文「方向˙符號」以東方水墨精神特徵和道家哲學思想及禪宗的思想合成作品的創作概念，使用道路上的交通標誌與橫著行走的螃蟹結合作為繪畫創作形式上的呈現。符號是指一定意義的意象，取所要傳達的事物的意義特徵以簡潔、單純、顯著、容易識別、簡單明了的圖形或文字表達其要傳達的意義。而本文標題中的方向指的是螃蟹橫著行走的特性，螃蟹的橫行，使人想起「橫行霸道」這句話，所以作者以螃蟹加以道路上的標誌隱喻人生，藉由此構成的結合來傳達出每一個生命體在人生的道路上可能會面對的種種問題與抉擇，對此做一個反省的思考與改善。本論文研究共分五個章節來論述，包含第一章研究動機與目的、研究方法與架構及研究範圍與釋義；第二章論述唐代後期水墨發展原因、水墨畫的美學思想特徵及水族動物主題的水墨畫；第三章以水墨繪畫的特性談論古人或當代名家所繪的水墨螃蟹畫的形式特質；第四章為個人實物創作作品的歷程及解析；第五章作為對本論文的研究心得及對創作的未來期許。 The creative conceptualisation of the thesis “Direction • Symbol” stems from characteristics of ink wash painting, as well as thoughts from the Taoist philosophy and school of Zen, and is presented through drawings of crabs and road signs. Symbols are often mainstream representations of objects created through simple and easily recognisable images or texts. The “direction” mentioned in the thesis refers to the unique sideway behaviour of crabs, which reminds one of the Chinese proverb “橫行霸道” (loosely translated into the phrase ‘riding roughshod over somebody or something’). The crabs and road signs serve a metaphor for life ; the author hopes to illustrate the problems and decisions a person may face while living and thus, to subsequently reflect and amend their choices through these illustrations. The thesis is divided into five chapters. The first chapter describes the research goals and objectives, research methods and research scope, while the second chapter highlights the reason behind the development of oriental painting during the late Tang dynasty, the aesthetics of ink wash painting, as well as ink wash paintings of aquatic creatures. The third chapter discusses the attributes of ink wash paintings of crabs painted by past and contemporary artistes using the features of ink wash paintings, and is followed by the fourth chapter, which recounts the author’s creative processes and analyses of her paintings. The final chapter concludes the thesis with a summary of thoughts regarding the research and suggestions for future research directions.
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