形與色的對話－莊媄棋藝術創作論述

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題名:	形與色的對話－莊媄棋藝術創作論述 Dialogue between Form and Color — A Discourse of Mei Chi Chuang’s Arts
作者:	莊媄棋 (Chuang, Mei-Chi)
貢獻者:	美術學系
關鍵詞:	構成抽象意涵媒材表現 Carton畫概念 Form Abstract Meaning Media Expression Concept of Carton Painting
日期:	2018
上傳時間:	2019-05-31 12:53:55 (UTC+8)
摘要:	本創作論述以《形與色的對話－莊媄棋藝術創作論述》透過五章節，說明與分析筆者創作各階段的思考與過程。藉由本論文探討創作所觸及的學理及技法相關的範圍，在整理創作及理念的過程中，以近幾年創作為主，透過形式與技法將自己內心世界「聽到的聲音、看到的事物、觸摸的感覺、嗅到的氣味、嘗過的口味」五種感覺稱之為「共感覺」生活的記憶、夢裡的情境等用繪畫表現出來。　　因為創作貴於整理與發現，特別是將相關的形式和原理統整與運用，如：象徵主義、野獸派、立體主義、超現實主義、眼鏡蛇畫派、原始藝術、抽象表現主義……等。各派主義中色彩輝煌、技法淋漓、歡樂愉悅的藝術形式學理，加上筆者的主觀情感、自我表現形式將其融入與變形。　　筆者自第三章創作理念，經由藝術史上各派主義所吸收的學理基礎，啟發而來的創作；第四章作品解析，是將近幾年創作的作品分別依照系列的意涵分析及表現形式介紹說明；第五章結論，將依照各派主義所領悟及自我五感的共感覺呈現。　　希望未來沿用此方法繼續創作，也藉由論文更清晰了解自己的作品，是以何種藝術史的脈絡養分所成長，此養分讓筆者視野看得更多、更遠、更寬廣。　　This thesis, based on Dialogue between Form and Color — A Discourse of Mei Chi Chuang’s Arts, will illustrate and analyze the author’s thinking and process of creation at every stage in five chapters. With related theories and skills, in the process of reorganizing creation and concept, the author will focus on the creation in recent years and express five feelings of the inner world: heard sounds, visible things, feelings of touch, sensible smells and tasted flavors, which are called “synesthesia”, as well as life’s memory and dream through form and skills. 　　Creation consists in reorganization and discovery, especially the combination and application of related forms and theories, such as symbolism, fauvism, cubism, surrealism, CoBra Group, primitive art, abstract expressionism, etc. In every art school, theory of artistic forms including brilliant color, excellent skill and enjoyable feeling as well as the painter’s subjective emotion and the form of self-expression successfully realize integration and abstraction. 　　Chapter three is about creation idea which is developed on the basis of theoretic foundation absorbed from various art schools in art history. Chapter four analyzes the works and introduces recent works in accordance with the meaning analysis and expression form of each series. Chapter five is about conclusion which is displayed according to the synesthesia that concluded by both each school and the author himself. 　　The author hopes to continue his creation via this method and to have a clearer understanding of how his works developed in what kind of nutrient in art history which enables the author having a wider vision in a better, longer and wider approach.
顯示於類別:	[美術學系所] 博碩士論文

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