時空概念在水墨畫中的創新表現—「浮生紀實」系列創作實踐

Abstract

本文研究主題為「時空概念在水墨畫中的創新表現」，主要藉由探討時間與空間在中西繪畫上的意義及表現，引發現代水墨畫發展新方向，並以個人「浮生紀實」系列水墨創作為實踐，期能達成創作性之目標。 西方繪畫史的發展是一連串繪畫空間革命的歷程，而水墨畫在當代的進程，最主要的任務是拓展傳統水墨畫表現的空間。因此，本研究在水墨表現之時間、空間與複合圖像等概念，有較多深入的探討，期望藉著對西方藝術思潮的瞭解，對東西繪畫語言做一比較與探索，探討時間與空間在東西方藝術家作品中呈現的方式及時空融合的創作實驗，拓展圖像單一表象，探究複合圖像在繪畫上的表現。本研究採用歷史研究法，分析、比較、歸納、綜合「傳統」與「現代」水墨畫時間、空間思想、審美理論與表現型態的不同，藉著「浮生紀實」創作實驗過程，賦予畫面「時空融合」的詮釋。 本研究主題重點涵蓋了「繪畫中的時間與空間」、「時空交融—複合圖像與錯置空間融合的可能性」及「個人創作理念的分析與實踐」三個部分，在研究架構上，共分五章，茲簡述如下： 第一章：緒論—包括研究動機與目的、內容與範圍、研究與創作之關係的說明。 第二章：先個別探討時間與空間在繪畫上的意義及其表現，繼而作時間與空間在水墨畫之表現與探討，並列舉當代水墨畫家的作品作印證。 第三章：首先分析時間與空間融合的繪畫美學，再逐一探討時間與空間融合的繪畫表現方式，進而探求複合圖像與錯置空間在繪畫表現之特色，結合後現代藝術表現觀點，闡述現代水墨畫創新的可能方向及創作與生活的關係。 第四章：個人創作理念的分析及實踐結果的呈現，除闡述個人創作的理念及內涵、創作題材之選擇及畫面形式呈現外，並將每幅作品的表達意念、表現方式及創作時所使用的技法、媒材及圖象符號…等做一詳盡說明。 第五章：結論部分，藉由研究結果和創作實踐的印證結合，重新釐清個人對 現代水墨畫創作的思考方向，期勉自己要不斷實驗探索、觀照內心，豐富個人水墨創作語彙並深化生命的意義。The theme of this study is the new representation of the concept of time and space in Chinese ink-wash paintings. After literature reviews and comparing the art vocabularies between Western an Chinese paintings, the author found the development of Western paintings is a process of space revolution, which gives traditional Chinese ink-wash paintings a new direction of focusing on the concepts of space expansions, the mix of time and space, and the technique of replacing mono images with multiple images. Also, the historical research, as a research methodology, is adopted to analyze, compare, induct and integrate the concepts of time, space, aesthetic and styles of traditional and modern Chinese ink-wash paintings. In the end, the author as well as an artist created new styles in his experimental works, the Life Records. This study includes five chapters: Chapter One: introduction, describing the study motives and purposes, contents and ranges, and the relationship between the study and art creations. Chapter Two: literature reviews on the meanings and expressions of time and space in Western and Chinese paintings. Also, some modern Chinese ink-wash paintings are used as corroborative evidences. Chapter Three: analyzing painting aesthetic and expressions of the mix of time and space, exploring ideas of compound images and space replacement in paintings, and producing a new direction for Chinese ink-wash painting with the view of post modern art. Chapter Four: analyzing and representing the personal philosophy of art creations on styles, topics, forms, materials, techniques, and image symbols, etc. Chapter Five: conclusions that proof the research results with artist’s art creations, clarify the new direction of modern ink-wash paintings and the author hopes to deepen the life meanings of ink-wash paintings in the future.