自然·心象—王錦鴻彩墨創作論述

Abstract

本文之寫作宗旨在於自然、心象彩墨創作之研究，主要探討宇宙萬物的大自然與心象意念做結合，從抽象至具象的自動性技法做作品的呈現。首先以創作理念與學理分析及文獻資料的探討，做為此創作過程與技法探究之依據，然後依個人生活經驗的感悟，以及主觀思想情感與自然的物象進行對話，以期完成心靈合一的彩墨創作作品。大自然的涵意是多元而豐富的，它代表了生命的起源、多樣性和互聯性，是我們賴以生存和繁榮的基礎。我們應該珍惜大自然，保護和尊重它，以確保我們自身和後代能夠繼續享受其恩賜。大自然的美麗和奇妙之處為人們也帶來了無盡的觀賞和享受，同時也激發了人類對大自然的保護與尊重。心象則涉及筆者內心世界的表達和體驗，常與主觀、個人的經驗和情感相關聯，它可以是筆者對某種情緒、概念、記憶或夢境的表達，是筆者獨特的感受和內在經驗的表現。本論文分五章節，第一章緒論：研究動機與目的、研究內容與方法、研究步驟與範圍限制、名詞釋義。第二章：創作思想與學理依據的探討，包括儒、道學之觀念影響，中國美術自然審美之展現，近代彩墨畫之自然觀與藝術家研究。第三章：形式內容與實踐。第四章作品解析。第五章結論：回顧省思、未來展望。

The purpose of this paper is to study the TSAI-MO art creation of nature and mental imagery.It is a semi-automatic technique to present works from inaction to action, mainly exploring the combination of the nature of the universe and the mental imagery.First of all, the author uses the concept of creation, the analysis of theories, and the exploration of literature as the basis for this creative process and the exploration of techniques, and then relies on the perceptions of personal life experience, as well as the subjective thoughts and emotions to engage in dialogue with natural objects, in order to complete the unity of the heart and soul of the TSAI-MO art creations.Nature is diverse and rich in meaning. It represents the origin, diversity and interconnectedness of life, and is the foundation of our survival and prosperity. We should cherish, protect and respect nature to ensure that we and future generations can continue to enjoy its gifts. The beauty and wonders of nature have brought people endless appreciation and enjoyment, and at the same time inspired them to protect and respect nature.Mental imagery involves the expression and experience of the author's inner world, which is often associated with subjective and personal experiences and emotions. It can be the author's expression of certain emotions, concepts, memories, or dreams, and it is the inner expression of the author's unique feelings and experiences. This thesis is divided into five chapters, Chapter 1: Introduction: Research Motivation and Purpose, Research Content and Methodology, Research Steps and Scope Limitations, and Definition of Terms. Chapter 2: Exploration of creative ideas and theoretical basis, including the influence of Confucianism and Taoism, the realization of natural aesthetics in Chinese art, and the influence of the natural view of modern TSAI-MO art painting and artists. Chapter 3: Creative Concepts and Practical Methods. Chapter 4: Analysis of Works. Chapter 5: Conclusion: Review and Reflection, Future Prospects.