如夢之境山水的建構 再造太魯閣峽谷的創作研究
Abstract
創作研究的意義在於創作實踐可能性之拓展以及創作理論之探索，透過深入探討繪畫技法與學理，試圖以此將創作的領域大為擴展與理解。筆者認為，做為一位台灣的山水畫家，應該用心體會台灣的山林形貌，反應本土自然與在地特色，見證時代的脈動。因此，筆者希望藉由相關文獻理論的梳理探討，充實繪畫創作的美學思維與提升創作技法的研究
本創作研究論文以太魯閣峽谷作為題材，以「如夢之境」為題探討新的山水創作組構與表現的面向。論文共分五章，依序為第一章：緒論。第二章：如夢之境山水境域的再生。第三章：創作如夢之境山水的美學與實踐。第四章：如夢之境山水的建構系列作品解析。第五章：結論。
本論文採用法蘭克福學派中阿多諾的美學理論，以藝術的社會批判功能及「間離」創作手法來論證「如夢之境山水的建構」之意涵，並從中國歷代的哲學思想中，汲取道釋思想、空間意識，加以整理、融會，轉化為個人創作上的泉源，藉此深化創作廣度與內涵。反映在筆者以太魯閣峽谷為題材的山林夢幻作品中，探索它在山水創作中的獨創性與地域性，透過個人對當前台灣環境生態的體認與觀察，作為創作研究之切入面向，繼而開展出具體可行的實踐方法。
新的社會型態促進新的時代氛圍，不一樣的生活體驗必然會有新的感受與新的表現方式；筆者從生活體驗出發，嘗試將藝術的「間離本質」學理與實務探討結合，應用現場寫生進行創作整理的資料，以「如夢之境」四大系列「峽谷美的呈現系列」、「峽谷山河變色系列」、「峽谷超越真實系列」與「峽谷原鄉關懷系列」為創作主軸，將太魯閣峽谷的形貌與生態變化，擷取記錄，再應用各種媒材工具以及水性壓克力顏料、版畫的拓印技法，以壓印、擦拭等手法，進行各種技法的實驗、挪用、混搭與重組。巧妙地記錄出山水景觀的變異，意圖展現太魯閣峽谷如實若幻的夢境，來彰顯藝術的批判功能，讓「夢境」的呈現是以虛假性、擬境、反諷來批判現實。建造屬於自己理想中的「如夢之境」，不僅完成山水繪畫美學與技法的探討，更完成一系列「異在性」特質的山水創作。
The meaning of creative studies lies in extending the possiblity of creative practice and exploring creative theory through delving into art technique and theory with a view to expanding the scope of art creation. As a Taiwanese landscape painter, the author believes that one should diligently learn about the topography of Taiwan’s mountains and forests, remain faithful to the island’s natural and indigenous traits, and represent the pulse of the time. Thus, by discussing and exploring related theories and documents, the author wishes to fully enrich the aesthetic thinking and value of creative paintings. Composed of five chapters, this dissertation uses the Taroko Gorge as subject matter to explore new forms of constructions and expressions in landscape paintings. The subtitles of the five chapters run as follows: Introduction (Chapter 1); Rebirth of Dreamlike Landscapes (Chapter 2); The Aesthetics and Practice of Creating Dreamlike Landscapes (Chapter 3); An analysis of the Constructed Series of Dreamlike Landscapes (Chapter 4); and Conclusion and Prospects (Chapter 5). Using art as social critique and the “distancing” techniques of creation, the dissertation attempts to explore the implication of “constructting the dreamlike landscape” by adopting the aesthetic theory of Theodor Wiesengrund Adorno (1903-1969) of the Frankfurt School. In so doing, the author will also draw upon the Taoist and Buddhist thoughts and space consciousness from the philosophy of Chinese dynasties and turn them into a source of inspiration for my creation, thereby extending the breadth and depth of my creation. What is reflected in the dreamlike landscape of my artworks about Taroko Gorge is an exploration into the continuity and regionalism of its landscape creation. Based on personal understanding and observation of Taiwan’s current environment and ecology as a point of departure, this study hopes to open up concrete and feasible methods of painting. New social patterns foster new atmosphere of the times; different life experiences are bound to bring about new feelings and new forms of expression. As a water-ink artist of the new generation, the author makes use of personal life experience as a point of departure and seek to discuss and combine the “distancing nature” of art theories and the practice of art. Using on-site artwork for creation and organization, I tried to record and capture the topography of Taroko Gorge and its ecological changes. The creation of “Dreamlike Landscapes” consists of four main series: “Presentation of the Beauty of the Gorge”; “Changing Typography of the Gorge”; “Transcending the Reality of the Gorge”; and “Concern about the Native Gorge.”Then mediums such as water-based acrylic emulsion paints and imprinting techniques of block prints are used for imprint or wipe, with a view to experimenting with, appropriating, and recombining various techniques. I hope to tactfully represent the transformations of the landscape, attempting to convey the dreamlike beauty of Taiwan’s Taroko Gorge in order to bring into relief the critical function of art. My purpose is to present the dreamlike landscape fictively, mimetically and ironically in order to critique reality. It has been the author’s hope to create an idealized personal “dreamlike state” through transformational, multi-layering methods. In conclusion, this dissertation incorporates the discussion of the aesthetics and techniques of landscape painting into a series of landscape art creations with “utopian” traits.
The meaning of creative studies lies in extending the possiblity of creative practice and exploring creative theory through delving into art technique and theory with a view to expanding the scope of art creation. As a Taiwanese landscape painter, the author believes that one should diligently learn about the topography of Taiwan’s mountains and forests, remain faithful to the island’s natural and indigenous traits, and represent the pulse of the time. Thus, by discussing and exploring related theories and documents, the author wishes to fully enrich the aesthetic thinking and value of creative paintings. Composed of five chapters, this dissertation uses the Taroko Gorge as subject matter to explore new forms of constructions and expressions in landscape paintings. The subtitles of the five chapters run as follows: Introduction (Chapter 1); Rebirth of Dreamlike Landscapes (Chapter 2); The Aesthetics and Practice of Creating Dreamlike Landscapes (Chapter 3); An analysis of the Constructed Series of Dreamlike Landscapes (Chapter 4); and Conclusion and Prospects (Chapter 5). Using art as social critique and the “distancing” techniques of creation, the dissertation attempts to explore the implication of “constructting the dreamlike landscape” by adopting the aesthetic theory of Theodor Wiesengrund Adorno (1903-1969) of the Frankfurt School. In so doing, the author will also draw upon the Taoist and Buddhist thoughts and space consciousness from the philosophy of Chinese dynasties and turn them into a source of inspiration for my creation, thereby extending the breadth and depth of my creation. What is reflected in the dreamlike landscape of my artworks about Taroko Gorge is an exploration into the continuity and regionalism of its landscape creation. Based on personal understanding and observation of Taiwan’s current environment and ecology as a point of departure, this study hopes to open up concrete and feasible methods of painting. New social patterns foster new atmosphere of the times; different life experiences are bound to bring about new feelings and new forms of expression. As a water-ink artist of the new generation, the author makes use of personal life experience as a point of departure and seek to discuss and combine the “distancing nature” of art theories and the practice of art. Using on-site artwork for creation and organization, I tried to record and capture the topography of Taroko Gorge and its ecological changes. The creation of “Dreamlike Landscapes” consists of four main series: “Presentation of the Beauty of the Gorge”; “Changing Typography of the Gorge”; “Transcending the Reality of the Gorge”; and “Concern about the Native Gorge.”Then mediums such as water-based acrylic emulsion paints and imprinting techniques of block prints are used for imprint or wipe, with a view to experimenting with, appropriating, and recombining various techniques. I hope to tactfully represent the transformations of the landscape, attempting to convey the dreamlike beauty of Taiwan’s Taroko Gorge in order to bring into relief the critical function of art. My purpose is to present the dreamlike landscape fictively, mimetically and ironically in order to critique reality. It has been the author’s hope to create an idealized personal “dreamlike state” through transformational, multi-layering methods. In conclusion, this dissertation incorporates the discussion of the aesthetics and techniques of landscape painting into a series of landscape art creations with “utopian” traits.
Description
Keywords
太魯閣, 峽谷, 山水, 夢, 批判, Taroko Gorge, gorge, landscape, dream, critique