觀石．映心—吳亞倫水墨創作論述

Abstract

本文探討觀石．映心—水墨創作論述，筆者在工作中長期在桃園的觀新藻礁和草漯沙丘中移動，因藻礁的啟發，進而觀察更多的礁石海岸河灘，由觀石的肌理形成和靜坐中與石的靜默對談，轉化成對宇宙無垠的幻想和自我心中的觀照。岩石為大地發育的基質，從生活中了解臺灣岩石形貌，針對岩石肌理及地形地貌中進行探討，透過筆墨與西方媒材結合，期盼能藉用多媒材不同的特性，在創作中有更多更具新意的繪畫表現，並由學理資料探討心象，以石為符號創作，組構及造境為創作模式，透過造境更能接近筆者所求的情境；為使山水畫更具開放的表達空間，也讓創作能更臻「物我合一」之境；是故，也佐以禪學、哲學、西方心理學作為探討。本研究強調實境觀察，透過實地寫生或記錄，進而轉化成觀照自我，透過自我內心創作感情，轉化成創作符號；在論文中，第一章為緒論，說明創作論述的研究動機與目的，第二章觀石‧映心的內容闡釋，第三章研究觀石如觀心的藝術思維，第四章闡述創作實踐與作品解析，第五章探討創作分析與說明，第六章結論。透過觀察過程培養敏銳的觀察和深刻的內省，期望在藝術上有更深的體會，形成個人的繪畫風格，窺探藝術之堂奧。

This study explores the discourse of ink painting series titled"The Mind's Reflection in the Observation of Rocks." The author, who has spent an extended period working in the coastal area in Taoyuan, draws inspiration from the algal reefs and sand dunes. The exploration of the texture of stones and silent dialogues with them during contemplation transform into fantasies of the boundless universe and introspection within the self. Rocks serve as the matrix for the Earth's development, and the study delves into the morphology of Taiwanese rocks and the topography. By combining traditional brush and ink techniques with Western media, the aim is to incorporate diverse characteristics of various media for innovative artistic expressions. Drawing on theoretical data, the research explores the use of stones as symbols, employing composition and environment as the creative mode. This provides a more open expressive space for landscape painting, allowing the author to find harmony of self and things through discussions on Zen philosophy, general philosophy, and Western psychology.The research emphasizes real-life observation, translating on-site sketches or documentation into self-reflection. Through personal emotional experiences, these are transformed into artistic symbols. The thesis comprises six chapters: the introduction explaining the research motivation and objectives, the second chapter elucidating the content of"The Mind's Reflection in the Observation of Rocks.," the third chapter exploring the artistic thinking of observing stones akin to observing the mind, the fourth chapter detailing creative principles and practices, the fifth chapter analyzing and explaining the creative work, and the sixth chapter presenting the conclusion. The process of observation is intended to cultivate keen observations and profound introspection, aiming for a deeper understanding in the artistic realm and the developmentof a personal painting style, unveiling the mysteries of art.