太魯閣意象：周淑慧水墨創作論述

Abstract

摘 要 「天地有大美，而不言」。在生長的台灣島嶼上，太魯閣國家公園綜合了生物多樣性、峽谷、高山、斷崖、岩石與原住民文化，是一座壯麗兼具優美與多元景致的自然與人文資產，每次探訪，深深感受大山大水之美，且心靈洗滌。筆者將大自然山水靈氣與自我深處的靈魂對話，通過意象方式，進行創作，借天地之美，以探討內心思維的看見。 懷抱著向大自然學習的心態、對台灣的情感、太魯閣峽谷的心動、及生活的體悟，形成意念及想法之表述。太魯閣意象因對「大自然之情」、「生活體悟」，由意而象而悟的創作過程，亦是「觀物取象」到「靜觀」、「從心」，由象而意的觀賞過程。呈現「天地有大美」、「萬物皆有情」，即為「意」與「象」交織的太魯閣。 本創作有由寫生到造境具體形象，另有透過意象「象外求象」，因「生命的體悟」，呈現「心象」，試圖走出自身創作的新面貌。作品主要綜合了水墨及複合性媒材，經由「造形的簡化」、「光的微調」、「重彩的時代感」，利用造形的簡化、構圖形式及注入了時間序列，表現出藝術新意象，分別代表「太魯閣心象系列」及「太魯閣造境系列」的視覺詮釋。 太魯閣意象創作包括「太魯閣心象系列」之《石系列》、「太魯閣造境系列」之《山水系列》之作品，「太魯閣心象系列」為造形的簡化與「太魯閣造境系列」為對光的微調、重墨重彩之時代感之詮釋，係意與象的交織，理論與實踐的結合，創作形式與內容的統一。本文分為五大部分：第一章、緒論；第二章、試以莊子、石濤相關哲思與學理梳理探析；第三章、創作理念與內容分析與探討；第四章、創作實踐與作品解析；第五章、結論。經由以上各章節的探討研究，筆者試圖引西潤中，調和中西，探索當代水墨發展的各種可能性，投入自身情感思想，結合當代自然環境和時代意識，架構出自身的創作內涵，期能發展出一套自我闡述的創作風格。Summary “The magnificent creations of nature, they do not speak.” Thriving on the Taiwan island, the Taroko National Park combines biodiversity, canyons, mountains, cliffs, rocks, and aboriginal culture. It is a sublime natural and humanistic asset with glorious and diverse scenery. Which makes one indulge in the splendid view and the cleansing of the soul each time being in it. The author transforms the conversation between the spirit of the natural landscape and the soul in-depth into the creation. Through imagery and aesthetics of nature, to explore the perception of inner thinking.To express the concept of having nature as the guidance, the affection for Taiwan, the attraction toward Taroko Gorge, and her life experience, the Tribirth Stone of Taroko Gorge is the creative process from the love of nature and the comprehension of life, taking the idea to the image, to the state, to the realization of philosophy. It is also the observing process of capturing the form of natural and life phenomena, taking the object from a different perspective, deconstructing the structure, and finding its meaning. The two merges, presenting the magnificent creation of nature, and all creatures are spiritual. That is, the meaning and the form of the Taroko intertwined.This series of creations contain sketches from nature and created scenes. In addition, the attempt to reach a higher state through imagery, seeking the form outside of the structure. Comprehended life, these series present the state of mind and attempt to find a new look for her creation. The composition mainly integrates ink and composited media. Through structure simplification, the fine-tuning of light, and the contemporary impression of the heavy colored ink-wash painting, utilizing shaping, composition, and creating the sequence of time, express the new perspective of the virtual arts. It represents the visual interpretation of the Taroko Mental Perception Series and the Taroko Scenery Creation Series.The Imagery of Taroko includes the Stone Series of the Taroko Mental Perception Series and the Landscapes Series of the Taroko Scenery Creation Series. Taroko Mental Perception Series emphasizes the simplification of structure, Taroko Scenery Creation Series elaborates on the fine-tuning of light and the contemporary impression of the heavy colored ink-wash painting. These series are the result of the imagery and form interweaved, theory and practice combined, and the creating process andthe content united. This thesis has five chapters. Chapter I, Introduction. Chapter II, Attempting Analysis of the Related Philosophy and Theory of Zhuangzi, and Shi Tao. Chapter III, Analysis and Discussion of Creating Forms and Contents. Chapter IV, Creating Practice and Artworks Analysis. Chapter V, Conclusion. Through the discussion and research of the above chapters, the author attempts to introduce the western element to enrich oriental arts, exploring the various possibilities of contemporary ink-wash painting. Filling with her sentiments and perceptions, combining the natural environment and the modern conception, the author seeks to establish her creating style.