花皴意象-張素蘭水墨創作論述

Abstract

本研究取材自生活週邊「花皴」實像，透過細微的觀察揉合生命過程的體驗，作為研究探討及藝術創作的題材，創作的核心為「花皴」，藉由花皴產生的「意象」，傳達筆者心中對大自然萬象的觀察及與個人心境歲月相互摺疊的痕跡，透過水墨創作，譜出屬於筆者心境的變奏意象。 第一章緒論，介紹個人的研究動機與目的、研究的範圍與方法以及研究與創作的關係。 第二章文獻探討，從傳統文人畫中「皴」的形式表現特色開始，探索筆墨線條的張力，及分析「花皴」存在的內蘊與形式美感的訴求，另從現代水墨的變革及生活週邊常見的五種花皴（山石、牆、樹皮、花、水）實像的呈現，來進一步瞭解現代水墨名家在相同題材的水墨新趣表現。 第三章為筆者的創作理念與形式技法，分為四個系列（牆、樹皮、花、水），針對每一個系列的創作形式所採取的媒材、技法與步驟做說明。 第四章就筆者個人創作的意象表現進行作品解析。 第五章結論則歸納筆者如何從傳統筆墨出發，走進內心探索自我，進而透過現代水墨意象的經營，表現對於自我未來的期許。This research is based on images of “Huatsuen” (pattern of flower veins)extracted from the daily surroundings. Subtle observations of “Huatsuen,” combined with individual life experiences, constitute the core of this research as well as the author’s artistic creation. By dint of the images of “Huatsuen,” the author conveys how individual perception of nature and traces of the vicissitudes of personal life have been mutually folded into artistic creation. Through the form of ink painting, the creation process lays out the variations of the author’s state of mind. The first chapter introduces the research motivation and purpose, the research scope and methods, and the relationship between research and artistic creation. Literature overview in the second chapter starts with the characteristics of “Tsuen” in traditional literati paintings, exploring the tension of ink brushstrokes and analyzing the essence and aesthetic appeal of “Huatsuen.” Moreover, in light of the transformative development of modern ink painting, along with the demonstration of five common types of images of “Huatsuen” (rock, wall, bark, flower, water) in the daily surroundings, modern ink painting masters’ novel expressions of the same images are further revealed. The third chapter elaborates the author’s concept of creation, consisting of four series: wall, bark, flower, and water. The form of creation in each series and their respective materials, techniques, and steps are illustrated and explained. The fourth chapter interprets the author’s artistic works by explicating individual style in the composition of images. The conclusion in Chapter Five summarizes how the author takes inspiration from traditional ink brushstrokes as a departure point and, with a further step, delves into the composition of images in modern ink painting. This research and creation process has facilitated the author’s self-exploration of the inner world and envisioned self-expectation for the future.