| 摘要: | 經由影視媒體的渲染，筆者對於災難題材的作品產生莫大的興趣，使用電腦創作了許多畫作。而筆者一向皆以現代作為舞台背景來做創作，對於歷史畫作的深層研究是論文寫作後來才開始產生興趣。科學與自然災害的競爭在初期皆以緩慢的速度進行，直至近百年人類才終於站在優勢上。在此以前常將稀有的自然現象消極得歸於神靈的作為，如雷鳴、地震，對於抗災實質上是一籌莫展。筆者以現代災難創作為起始點，藉由此次的研究，結合了藝術作品，重新了解歷史上對於自然災害與消防、救援組織的競爭發展。
本論文分為六個章節。一開始說明筆者的研究動機、目的、方法和架構。於第二章之後進入本次研究主題，對於西方與日本於災難發生之後的對策、方法做時代順序的介紹，並蒐集了多件東西方以災難為主題之繪畫做說明以及分析。論文後半段的第四章與第五章將重心回到筆者自身，把自己的繪畫理念與創作來源做完整的敘述，並於第五章介紹於此次研究完成的災難系列作品。最後第六章彙整了此次創作研究的結果與之後的展望。
Through the media, I have become interested in works on disasters and created many paintings using the computer. I have always used modernity as the backdrop for my work, and it was only after writing my dissertation that I became interested in more profound research on historical paintings. The competition between science and natural disasters was slow in the early days, and it was not until the last hundred years that humanity finally took the upper hand. Prior to this time, rare natural phenomena were often attributed to divine action, such as thunder and earthquakes, in which nothing in combating disasters had been addressed. I take modern disaster creation as a point of departure, and through this study, combined with artworks, I help readers regain an understanding of the historical competition between natural disasters and fire and rescue organizations.
This study is divided into six chapters. It begins with a description of my motivation, objective, methodology, and structure. After the second chapter, I present the theme of this study and introduce the responses and methods of the West and Japan in the aftermath of disasters in chronological order, followed by collections of a number of Eastern and Western paintings with the theme of disaster for illustration and analysis. In the second half of the study, Chapters 4 and 5 focus on my own painting philosophy and creative inspirations, and in Chapter 5, I introduce the disaster painting series completed in this study. Finally, Chapter 6 summarizes the results of this study and the future outlook. |
