合歡山景油畫創作研究

Abstract

筆者從小喜歡繪畫，也喜歡在天氣好的時候騎重機旅遊，經過中部橫貫公路的合歡山，俯視群山，山的陵線層次分明，雲霧繚繞，呈現的美感，讓筆者印象深刻，念師大研究所論文的主題，就選擇合歡山景油畫創作為研究的主題。研究的目的是選擇合歡山的山岳景觀，呈現個人的觀看、經歷的感受與腦海中的圖象。研究美術史上高山的景觀繪畫，在不同的時空，呈現的不同創作方式及其特色。研究的方法是，文獻分析法、實際觀察法、創作實踐法、內容分析法，關鍵字為合歡山、崇高、風景、層次、雲霧。探討歐洲繪畫，從文藝復興時期人物為主，風景為陪襯，到發展成風景繪畫。歐洲山景畫家，用繪畫表現高山空無或崇高浪漫的氛圍或是峭壁的場景，美國山景畫家畫美國原始荒野崇高的巨大山脈，或與神話故事結合而表現美國的偉大形像，日本的山岳畫家，創作日本富士山的神聖形像，臺灣的高山畫家，描繪崇山峻嶺，或雲霧飄渺的高山。山景屬於崇高美學，站在峭壁懸崖邊，讓人感到驚恐害怕，合歡山過去是泰雅族的獵場，保有原始的景觀，合歡山屬於東緩西陡峭的地形，有水鹿、山羊等原生物種，有箭竹、玉山圓柏、玉山杜鵑等高山植物。本論文之架構為緒論，研究動機與目的，研究範圍與限制，研究之方法，名詞釋義，文獻探討包括；風景繪畫，繪畫中的山景題材，崇高美學與合歡山的地理人文，合歡山景的創作理念與實踐，合歡山景創作理念，創作的形式與內容，使用的媒材與技法，創作的歷程與實踐，合歡山油畫的作品內容分析，並作成結論。Since childhood, I have loved painting and also enjoy motorcycle touring when the weather is good. While passing through Hehuan Mountain on the Central Cross-Island Highway, I was deeply impressed by the layered ridgelines of the mountains and the beauty of the mist that swirled around them. This experience inspired me to choose Hehuan Mountain's landscape as the subject for my thesis research during my graduate studies at the National Taiwan Normal University. The purpose of this research is to depict the mountain landscape of Hehuan Mountain, expressing my personal observations, experiences, and the imagery in my mind. The research also explores the history of mountain landscape painting in art, examining the various methods and characteristics of these works in different times and places. The research methods used include literature analysis, direct observation, creative practice, and content analysis. The key terms for this research are Hehuan Mountain, the sublime, landscape, layers, and mist.The study delves into European painting, tracing the evolution from the Renaissance period, where the focus was on figures with landscapes as a backdrop, to the development of landscape painting as an independent genre. European mountain painters often depicted the emptiness or sublime romantic atmosphere of high mountains or dramatic cliff scenes. American mountain painters focused on the vast, sublime wilderness of America's giant mountain ranges, sometimes incorporating mythological elements to express the grandeur of the United States. Japanese mountain painters often depicted the sacred image of Mount Fuji, while Taiwanese mountain painters captured the rugged peaks or the misty, ethereal highlands of Taiwan. Mountain landscapes are associated with the aesthetics of the sublime, evoking feelings of awe and fear when standing at the edge of a cliff. Historically, Hehuan Mountain was a hunting ground for the Atayal people and has preserved its pristine landscape. The mountain features a topography that is gentle in the east and steep in the west, and is home to native species such as Formosan sambar deer and Formosan serow, as well as high mountain plants like Yushan cane, Yushan juniper, and Rhododendron pseudochrysanthum.The structure of this thesis includes an introduction, research motivation and objectives, research scope and limitations, research methods, definitions of key terms, literature review, including discussions on landscape painting, mountain landscape themes in painting, sublime aesthetics, and the geographical and cultural aspects of Hehuan Mountain. It also covers the creative concepts and practices related to Hehuan Mountain, the artistic philosophy behind the Hehuan Mountain landscape creation, the forms and content of the artwork, the materials and techniques used, the creative process and practice, and an analysis of the content of the Hehuan Mountain oil paintings, concluding with a summary of the findings.