世界名畫裏容納著相當多樣而且豐富的內容，筆者在觀賞時，總能沈澱心情，撫平心緒，在名畫作品中找到共鳴，因此興起了對世界名畫的學習之心。考進了文化大學藝術研究所之後，筆者有幸認識了許坤成教授與翁美娥教授，在他們的細心教導之下，領悟了兩位老師所苦心創立的畫派──「後立體畫派」，並瞭解到可引用此繪畫創作理論來「轉借」世界名畫，如此便能滿足筆者向世界名畫學習的心願，另一方面也希望能以「後立體畫派」的理論從事繪畫創作，讓筆者的畫作品質有所提昇。
本論文共分六章，第一章「緒論」，敍述創作目的、動機與研究範圍及方法。第二章針對「轉借」進行定義，並且對「轉借」畫作、「抄襲」畫作、「臨摹」畫作的區別，提出一些看法。第三章「追溯歷史上運用『轉借』表現形式的代表性畫家」，將畢卡索、達利運用「轉借」表現形式的畫作進行介紹，並且整理出歷史上曾經「轉借」《蒙娜麗莎》的畫家們。第四章「自我創作的『轉借』表現形式」，第一階段筆者先選擇了五位美術史上的名畫家的畫作來進行臨摹，第二階段再以「後立體畫派」的繪畫創作理論來「轉借」世界名畫，並且整理出畫作「整合」的三個基本概念， 並且說明如何以這三個基本概念來輔助「後立體畫派」的繪畫理論來「轉借」世界名畫，並且以筆者實際的繪畫創作來說明如何以「後立體畫派」的畫論來「轉借」世界名畫。第五章「作品賞析」，分析筆者的創作思路以及對「後立體畫派」「轉借」表現形式的運用。第六章「創作省思與展望」，筆者對這一年多來的創作過程進行一番自我的省思，瞭解到「自由與思考」對繪畫創作的重要性，並且體悟了「哲學與繪畫」的關聯性，在研究心得方面，則詳述筆者經由繪畫的創作接納了「理性思考型」畫家的過程，並且將後立體畫派「轉借」表現形式對畫作的品質提昇提出一些筆者個人的看法。
World-renowned paintings are highly rich and diverse. Everytime the author looks and reflects upon them, they calm one’s mind, appease one’s emotions, and unknowingly one can resonate with the famous works of art. These were also the reasons that gave rise to the author’s heart of learning the world arts.
After entering the Chinese Culture University - Graduate Institute of Art, the author was extremely fortunate to meet Professors Kuen-Cherng Sheu and Meei-Er Ueng. Under their careful guidance, the author started to comprehend the school of painting which the two professors took pains to established ── “Cubisme Alternatif”. The author also realized that this Theory of Painting can be used to “appropriate” world-renowned arts. Not only has this satisfied the author’s fervent dream of learning from the world masters, the author also hoped that through the application of the “Cubisme Alternatif” Theory, the quality of his works can be upgraded.
This thesis is divided into six chapters. Chapter 1 “Introduction” discusses the objective for the creation, motive, scope and methodology of the study. The second chapter is targeted at defining “What is ‘Appropriation’ Art?” as well as proposes some of his views on “appropriating” art, “plagiarizing” art, and “copying” art. The third chapter “Tracing the representative painters in history who applied the form of “appropriation”, introduces Picasso and Dali’s works that used the “appropriation” form as well as presents the artists in history who once “appropriate”《Mona Lisa》. In the fourth chapter “’Appropriation’ form in self-creation”, the author chose five renowned painters in the history of arts to carry out the copying technique. After which the second part uses the “Cubisme Alternatif” Theory to “appropriate” world-renowned paintings as well as organized the works of art according to the three basic “integrating” concepts as well as explaining how these three concepts can assist “Cubisme Alternatif” Theory in “appropriating” world-renowned arts. The author will also use his actual artistic creations to discuss how to apply the Theory of “Cubisme Alternatif” to “appropriate” world-renowned paintings. The fifth Chapter “Work Appreciation” analyzes the author’s creative path as well as this application of the “Cubisme Alternatif” and “appropriation” form. In the sixth chapter “Creative Works’ Reflection and Prospect”, the author reflects on his own process of creation during the past year and understood the importance of “freedom and thinking” on painting and artistic creation. The author also realized the relationship of “Philosophy and Painting”. In sharing his realizations, the author writes in detail how through his own creative process, he has accepted the rational thinking approach of most painters. The author also proposes his own opinion on how the “appropriation” form of Cubisme Alternatif can upgrade the quality of paintings.
