| 摘要: | 本研究主要以天地萬物為師去體驗自然萬象，及學習自然的奧秘，藉以找回最原始的創作初衷。天地宇宙的運行雖有跡可尋，但萬物變化卻在一瞬間稍縱即逝，瞬間即永恆的特性留存在多少藝術家的畫作裡實值得探討一番。也因而筆者以印象主義作為主軸，探討西方風景畫作的變遷，並以東西方的自然人文觀點貫穿其繪畫精神，再融合自然界真實性的繪畫創作表現，展現出繪畫創作源源不絕的生命力。至於創作的形式與構成方面，則以塞尚、莫內、高更、雷諾瓦等巨匠作為案例。期冀將人與自然、自然與我的關係做一適當且完整的詮釋，探索出自我創作的根源，並在未來創作的路徑中，發展出無限的可能性。
本研究係以筆者兩年來的繪畫創作為主，再輔以創作學理、理念架構、創作形式、做一統整的研究分析，表達出自然在藝術創作中所呈現的意義，繼而回溯繪畫創作所表現的真實面貌。
論文架構如下共分六章：
第一章 緒論，說明本創作研究論述的動機與目的、方法與步驟、範圍與限制。
第二章 自我創作學理基礎，以印象主義為主軸說明西方自然風景畫的歷史觀、印象派的風格特色、印象派畫家的啟示。
第三章 創作理念的孕育，旨在闡述筆者創作的精神與思想的延續，分別就自然論的精神、模仿與再現自然的論說、心象的表現、直覺論的理念來探究之。
第四章 繪畫構成的剖析，分析繪畫的外在形式為主軸，分別
就中國傳統繪畫對空間、位置的論述、西方的空間論、線性的特質、色彩的分析、光的解析來分析之。
第五章 作品分析與內容詮釋，主要是探討筆者所創作的發展脈絡、創作歷程的構想與作品之間的關聯性，探尋自我創作的根源，並針對作品分析內在與外在形式所代表的意涵。
第六章 結論，將本論述作總結與筆者未來的展望。
This research probes into the problem of how to experience nature with all the things in this universe as teachers and the secrets of learning from nature in order to rediscover the primordial motive in artistic creation. Although it is possible to fathom the way of the universe, things changes momentarily. It is worthy of further study in how the eternity in an instant is captured in the paintings of some major artists. Focusing on impressionism, the researcher would like to examine the changes of landscape painting in the West. With the humanistic thinking of nature in both the East and the West, the researcher would like to identify the spirit behind those paintings. Blending with the representation of reality in nature in these paintings, the intent is to demonstrate the endless life force found in those paintings. Concerning the form and content, major examples will be taken from the works of masters of impressionism, such as Cezanne, Monet, Gauguin, Renoir, etc, to interpret the relationship between humans and nature, nature and self in a profound manner in order to find out the origins of my artistic creation, which will be further developed in my future creation with endless possibilities.
This research employs the paintings accomplished by the researcher in the past two years as the subjects of study, which are analyzed in an integrated manner, with the assistance of philosophy of artistic creation, theoretical framework, form in creation, etc to locate the position and meanings of nature in artistic creation. Likewise, it is possible to retrace the authentic outlook of my paintings.
There are six chapters in this thesis:
Chapter 1 is the introduction, which delineates the motivation and purpose, method, process, scope, and limitation of this study of artistic creation.
Chapter 2 treats the basic theories in artistic creation with impressionism as the focus to discuss the history of landscape painting in the West, the expression of light and color, and the idea of impressionism, and the revelations disclosed by the impressionistic painters.
Chapter 3 discusses the cultivation of the ideas of creation, with the purpose of discussing the researcher’s spirit in artistic creation and the continuation of her thinking, which are examined in the following themes: the spirit in naturalism, imitation and representation, the expression of mindscape, and the idea of intuition.
Chapter 4 investigates the form and analyzes the content of paintings, which are supported by the discussions on space in Chinese painting, the theory of location, the theory of space in the West, the characteristics of lines, the analysis of color and light, etc.
Chapter 5 analyzes and interprets the researcher's works to locate her trajectory of development and the idea and process in artistic creations, and the relations between the works, to fathom the origins of her artistic creation. In addition, the implications of the form and content of her paintings will be further examined.
Chapter 6 is the conclusion, which attempts to summarize the discussion and sketch the future perspectives of the researcher. |
