形構山水－鄭生祥水墨創作論述

Abstract

水墨畫在十九世紀以來迄今受到外來文化的衝擊相當大。許多喜愛水墨畫的先進都以各種論述為其努力，希望水墨畫有其更多元的可能性。當許多理論一味的讚賞西方的藝術思維，貶抑中國傳統繪畫精神的同時，卻嚴重犯了一個邏輯上的錯誤—沒有一種文化可以憑空而來，我們是文化的繼承者同時也是開創者，筆者秉持著這樣的信念，希望在中國繪畫思維中找尋養分以及結合西方的藝術理論，梳理出自我的創作架構。 本研究主要分為五個層次探討，第一:理論思維根基。從中國寫景造境談起，說明審美思維的轉變和表現方式的差異，探討歷代畫家所帶給後世的藝術養分及創新思維，並由擬像介入山水畫表現中。第二:以視覺心理學中，圖地反轉原理做山水畫創作發想。第三:環境美學探討，並以環境議題運用到山水畫創作的可行性。第四:藝術家探究。列舉以造境、圖地反轉、環境議題為創作手法的藝術家，從他們的創作理念和思維的繼承與創新加以探討解析。第五:個人的創作研究。從前四項的探究中分析自己的創作理念、題材立意、表現手法...等，加上作品說明。 個人創作以山水畫為主軸，其中包括擬像介入、圖地反轉原理的運用、環境議題表現。嘗試在中國繪畫藝術觀中探尋養分以及結合西方的藝術思維作為創作理念的思考，以不同的構圖形式呈現，期待在此過程中，能使自我的創作方向和路程更加踏實與清晰。Ink Painting has been significantly impacted by foreign cultures since the 19th century. Many people who love Ink Painting have attempted to create possibilities for Ink Painting to possess multiple factors through their efforts of various elaborations. However, when many of them appreciated western art philosophy blindly and looked down on the spirit of Chinese traditional painting, they made a serious logical mistake – No culture is created from nothing. We are heirs to our culture, and we are also the creators of culture at the same time. Based on this idea, I, the researcher, hoped to find out the nutrition in the philosophy of Chinese painting and the way to combine it with western art theory in order to clarify the creative structure of my own art works. This study explored from 5 aspects. First, the basis of theoretical thinking was explored. It was started from the formation of scenic and artistic conception. The transformation of aesthetic thinking and the different ways of expression were described. The art nutrition and creative thinking of the painters in different times were also explored. It was introduced into the expression of landscape paintings through simulation. Second, the principle of figure–ground in visual psychology was utilized in the idea of landscape painting creation. Third, the environmental Aesthetics was explored and the potentials of applying environmental issues to the creation of landscape paintings were also studied. Fourth, some specific artists were investigated. The artists who applied scenic writing, figure–ground, environmental issues to their art works were studied in order for us to explore and analyze their creative concepts, inheritance of thinking and creation. Fifth, the researcher’s personal art creations were studied. The creative concepts, themes, ideas, ways of expression of the researcher’s art pieces were analyzed with the exploration of the four aspects mentioned above, and the descriptions of the art pieces were included. The researcher’s personal creations were mainly landscape paintings, including the involvement of simulation, application of figure–ground and environmental issues. I attempted to explore the nutrition in Chinese art philosophy and to combine it with western art logics to be the creative thinking for presenting composition in a different way. I expected that the direction and road of my personal creation would be more practical and clear through this process.