樹蔭花間情─施素雲創作論述

Abstract

本研究取材自筆者在北宜路上的居所和郵局辦公室周圍環境的四季變化之花、樹以及所見所聞作為論述的題材，並從形式與內涵方面去探討傳統水墨與現代水墨的異同與演變過程。 在形式上，現代水墨已跳脫傳統水墨的技法，但是在精神上，現代水墨能仍保有傳統的美學觀以及基本的筆觸用法。然而，筆者是以傳統和現代合一的水墨技法加上個人生活環境的體驗，以及後現代技法共同融合而成不同的風格，把在北宜路上的四季花、樹表達出來。 筆者以本文第一章「緒論」為開端，談論有關研究動機與研究目的，研究內容與研究方法，還有研究範圍與限制。第二章創作的理論基礎，將敘述水墨畫從古典到當代的演變過程，以及花鳥畫的寫生造境和象徵與表現。第三章談到個人的創作觀點與理念，把北宜路上的人文景觀與花鳥的特色和創作內容的呈現表達出來。第四章個人的創作實踐與作品分析，藉由作品的分析說明筆者的創作理念與實踐的成果。第五章結論，是回顧作品創作與前瞻，從作品中所得到的經驗和體會以及對未來有何影響等拙見，希望能為文化藝術盡一份心力。The author of this discourse created a series of works using the “seasonal flora and fauna” of Taiwan as the main theme by taking scenes she noticed from her residence on BeiYi Road and from the surroundings of the post office where she used to work. Through analysis of both subject matter and form, the author compares and discusses the evolution from traditional ink painting to contemporary ink painting. In form, contemporary ink painting has shed the techniques of the traditional ink painting, however, the spirit of contemporary ink painting still retains the fundamental aesthetics of traditional ink painting, as can be seen in the brush strokes. For her works, the author consciously blurs the distinction even further by uniting traditional and contemporary ink painting techniques as well as post-modern techniques, harmonizing together to become its own distinct style. This distinct style is coupled with the author’s personal life experiences in her depiction of the “seasonal flora and fauna” of BeiYi Road. In the first chapter, the Introduction, the author discusses the motivation and objective of the research, as well as the research scope, content, and methodology. The second chapter sets the theoretical foundation of the discourse through a narration of the evolution of ink painting from the classical period to the present, as well as a discussion on the symbolism and expression in the still-life style of traditional Chinese “bird-and-flower painting”. The third chapter discusses the author’s motivation and realization of the theme, specifically why she decided to focus on the flora and fauna of BeiYi Road, a location with cultural value, as a distinctive creative focal point. The fourth chapter introduces the author’s works as a whole, examining and discussing specific works in detail, and using such analysis to shed light on the final result of the author’s creative process. The fifth chapter, the Conclusion, is the self-analysis of the author as she reviews the results of her work, and then expounds on the future potential impact of the works. The author hopes that her work can become a meaningful contribution to this cultural art form.