墨彩潑瀾－龔新光水墨創作論述

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題名:	墨彩潑瀾－龔新光水墨創作論述 Brilliant Ink and Color Splashing: Expounding on the Ink Paintings of Kung Hsin-Kuang
作者:	龔新光
貢獻者:	美術學系
關鍵詞:	水墨畫潑墨潑彩抽象表現主義莫內張大千
日期:	2020
上傳時間:	2020-09-08 13:24:27 (UTC+8)
摘要:	中國水墨畫發展至今，已融合西方美術的觀念及技法，山水畫做為中國水墨畫的大系，未來何去何從，如何在融合各種新技法及觀念下，仍能適切表達中國文化的底蘊，是水墨畫家共同面臨的問題，本文試圖從中國水墨大寫意及潑墨畫的歷史發展，探討中國山水畫的現代與未來。　　第一章敘述本論文研究動機、目的、研究方法及研究範圍和限制。第二章探討中國山水畫水墨大寫意及潑墨的歷史淵源，其中第一節探究中國水墨畫的歷史，水墨寫意及潑墨畫的探源及重要代表畫家。第二節介紹印象派大師莫內(Claude Monet)及抽象表現主義，並說明抽象表現主義與潑墨潑彩的異曲同工之妙。第三章介紹剖析台灣近現代相關水墨畫家，包括張大千、胡念祖、劉國松。　　第四章是筆者的作品解析，在畫作方面乃以台灣山水為水墨創作的表現標的，探討中國山水畫未來的可能方向。第一組作品強調"狀物形 "，結合各種技法較具象地描繪台灣自然景觀;第二組作品強調"表我意 "，將台灣自然景觀吸收消化後，以個人感受用非具象方式呈現。在書法作品方面包括真書、草書、隸書、篆書。　　第五章為結論，未來中國山水畫的發展，如何應用各種新媒材及技法，融合中西藝術，將具象的"狀物形"與抽象的"表我意"適切的融合，取得平衡，並保留中國文化的神韻，是水墨畫家所共同努力的目標。 Modern Chinese ink painting has long mingled the concept and technique of Western Arts, landscape painting is the core of Chinese ink painting, how will it be developed in the future, how to utilize the various new techniques and concepts, while retaining the spirits of Chinese culture, is the challenge faced by all of Chinese ink painters. This article tries to probe into the current situation and possibility of future development of Chinese landscape painting, from the perspective of historical development of Chinese freehand and splashed-ink painting. 　　The first chapter describes the research motivation, purpose, research methodology and research scope as well as research limitation of this article. The second chapter examines the historical origin of Chinese freehand and splashed-ink landscape painting. Section one explores the history of Chinese ink painting, and the origin of Chinese freehand and splashed-ink painting, then introduces some important representative painters. Section two introduces great Impressionism painter Claude Monet and Abstract Expressionism, explores how Abstract Expressionism and splashed-ink painting achieve the same goal with different approaches. Section three explores representative ink related painters in Taiwan, including Zhang Daqian, Hu Nien Tsu, Liu Kuo-Sung. 　　The fourth chapter expounds on the art works of the author, including ink paintings and calligraphy, the first group of ink paintings emphasizes ˮRepresenting the Objectˮ, utilizing various techniques to paint beautiful Taiwanese landscapes concretely; the second group of ink paintings emphasizes ˮPresenting the Selfˮ, painting Taiwanese landscapes abstractly by presenting the self emotion upon digesting Taiwanese landscapes. Calligraphy includes regular script, cursive script, clerical script and seal script. 　　The fifth chapter is the conclusion, the future development of Chinese landscape painting, how to utilize various new tools and techniques, commingle Chinese arts and Western arts, combine adequately concrete ˮRepresenting the Objectˮ and abstract ˮPresenting the Selfˮ and keep the balance between the two, while retaining Chinese cultural heritage, is the goal that all of ink painters should devote to.
顯示於類別:	[美術學系所] 博碩士論文

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