台灣地景的平面空間與虛實關係水彩創作研究-以龍圖驣與台灣墓景為例

Abstract

本創作論述基於筆者的水彩創作風格與研究，做為論述的主要架構，再擴向台灣乃至東方的水彩畫藝術語言，並透過梳理東、西方在空間及虛實關係上的差異及特色，並且體現在台灣當地的地景景觀中，顯現一份台灣社會人文的關懷，分析增長自我創作的內涵，並期許創作出更好的作品與自己及觀者對話。 基於筆者對水彩這項媒材的熱誠與追求，認為在現代水彩創作中，相較於油畫此一大畫種，水彩仍有很多創作發展上的可能性，為使水彩的領域更能呈現出具有時代意義的某種時空性，所以以當代繪畫的平面性發展為主要推展方向，期望個人水彩的創作能有別於古典唯美寫實的範疇，朝向更具當代意涵及本土特色的創作特質發展。 本論文研究的領域是探討筆者個人水彩創作的形式及精神內涵，共分五個章節 如下：第一章緒論：包含研究動機、目的、範圍與內容，及台灣當代水彩的概述。第二章：創作的理論基礎：就本論文創作所及的學理部分，進行深入分析比較，前兩小節依序就「東西方的空間表現差異」、「平面繪畫中的虛實關係」分別論述，第三節則探討台灣地景的特色，及以其為題材的藝術家作品介紹。第三章：創作理念與形式探討：從筆者的水彩創作理念來進行探討，表現當代台灣精神的創作思路。第四章：作品解說。從創作本位思考，分成兩個系列發展，探討現代水彩創作中的形式內涵，並表現個人對水彩創作的可能發展與思維，剖析個人在創作中所表達的作品含義。第五章結論則是總結創作研究之感想與省思。

This essay focuses on the author's style and research of watercolor as a framework for discussion which also researches art-language of watercolor paintings in Taiwan and even in Asia. Meanwhile, through exploring the differences and characteristics in geography and Virtual-Real Relationship, it shows social care and humanistic culture in Taiwan. Finally, analyzing process of self-creation, I expect to create better works and conversation with audiences. I believe that there are more possibilities for development of watercolor than oil paintings because of my desire and passion for watercolor material. In order to make watercolor art present meanings of certain circumstances, it gives priority to the development of flatness of contemporary painting. I anticipate my watercolor creation would be distinguished from the other category of classical aestheticism and realism, and pursues comprehensive development of both contemporary features and local characteristics. The main idea of this essay is author's personal form of watercolor creation and spiritual connotation. It is divided into five chapters as follows: Chapter 1: Preface –it includes research motivation, purpose, scope and content, and an overview of contemporary watercolors in Taiwan. Chapter 2: Theoretical basis of creation–it includes in-depth analysis and comparison of the theoretical aspects which I mentioned. The first two sections describe the differences in the spatial representation between the East and the West and the relationship in the painting. In the third section, the characteristics of Taiwan landscape and the artist's works with this theme are discussed and introduced. Chapter 3: Discussion on creative concept and form–It expresses the creative thinking of contemporary Taiwanese spirit from the author's idea of watercolor creation. Chapter 4: Explanation of work–It is divided into two series from creative-based thinking. It explores the form and connotation of modern watercolor creation, expressing individual's possible development and thinking of watercolor creation, and then analyzes the individual connotations in the creation. Chapter 5: Conclusion – It summarizes author’s thoughts and reflections of this research.