| 摘要: | 繪畫是文化發展的一部分，有其本源，也有其發展的脈絡，水墨畫源自強調「道法自然」、「心師造化」的山水畫，山水畫藉由對外景物的描寫，來寄託或表達畫家內心的思想，借景抒情，情景交融也是山水畫意境的精髓。故「意境」乃水墨畫之靈魂也。
一幅作品意境的產生並非一蹴可及，除了基本的筆墨功夫，還要與生活所見之情境與物象相融合，心靈感悟，以呈現當下「天人合一」的人文情境為創作理念，筆者在創作的實踐上，以台灣在地生活為題材，秉持傳統的筆墨技法，兼用西方繪畫技法，以一種中西合璧的實驗畫法來表現台灣的生活與風景之特殊風貌。
本研究論文藉由文獻探討，根據學理的認知，融合虛實之美學立論，並以筆者自身的創作理念與技法實踐試圖透過「虛實意韻」之主題，從水墨畫由傳統到現代，由寫實進化到寫意的演進過程中來尋找求新時代的創作現。
第一章為本論文的研動機、目的、研究方法與步驟，研究範圍名詞釋義。第二章論述虛實與意境之美學思想基礎。第三章虛與意韻作品特質分析。第四章是筆者創作理念與作品之說明。第五章結論。
Painting is part of culture development; its creation has reasons and its development can be traced. Chinese ink paintings originated from landscap paintings which emphasize so-called Tao, imitating nature and the mind following nature. Landscape paintings are used to display or express the artists' minds by drawing or painting their visual objects. The feelings or thoughts of the artists are told by the landscapes in the paintings. Therefore, we can say that agape is the soul of Chinese ink paintings.
An art work's agape can not be obtained easily. The artis not only needs to have solid to skills and techniques, but is also capable of fusing his life experience with his visually so that viewers can be inspired and touched. I , as the author of this thesis. would like depict and display the harmony of nanking and nature with my paintings and set it as my concept of creation. To fulfill my ;concept, l would use local Taiwanese life as my painting them, abide traditional ink and calligraphy techniques,and practice western pictorial skill so that I can exhibit Taiwan's vivid lifestyle and spectacular landscapes throughout my experiment drawing methods which are the combination of both Chiness are western.This thesis is to, with the help of historical literature reviews and aesthetic theory, discuss issues related to Chinese ink paintings“emptiness and substantiality”and agape. In this thesis, I would also like look back the development of Chinese ink paintings, from traditional to contemporary, from realistic to impressionistic, and then search for a new style of creation for this new era.
The first chapter of this thesis covers my reseearch's motivation , purpose, methods, steps, ranges and definitions of terminology. The second chapter discuss aesthetics thoughts regarding emptiness, substantiality and agape. The third chapter analyses the characteristics of a painting's emptiness, substantiality and agape. The fifth chapter summarizes this thesis. |
