崔宜慈的有情天地—探索心靈的花鳥畫

Abstract

本文以探討花鳥畫的脈絡以及情感於藝術創作中的發展出發，思考花鳥畫演變的過程與意義，另外於東方與西方的美學中研究藝術家的情感於創作中的能量，並且參照兩位藝術家的創作特質，以此作為筆者創作實踐之輔助，以此反思自身創作的意念與精神訴求。

第一章為緒論，說明研究動機與目的，創作範圍與論述架構。

第二章說明花鳥畫於歷史中之發展，自花鳥畫之源起、寫實世代至寫意水墨的過程，進而了解花鳥畫之特質如氣韻及隱喻。

第三章討論藝術中的情感能量，包括東方思維中，理與情兩者間的關係，所反應出的時代背景或社會環境，接著了解所謂意境的內涵。另外亦探討於西方美學中，理念與意志在主體與客體間變化的關係，了解西方美學中對情感創造的認知與建構。最後研究兩位藝術家的創作理念及作品，探討情感如何於創作中顯現以及如何與作品連結。

第四章為個人的創作理念與作品解析，自述個人於創作中的堅持、信念、題材、選擇的考量，以及創作的歷程。

第五章為結論，歸納於本論文所觸及之觀念理論，且說明個人未來創作上之展望與努力的方向。This thesis explores the historical context of bird-and-flower painting and the emotional development in the art-making process, pondering on the evolving process and the meaning of bird-and-flower painting. Moreover, the writer investigates artists’ feelings as creative energy in Eastern and Western aesthetics. In reference to two artists’ creative characteristics as personal auxiliary creative practice, the writer reflects on personal creative ideas and spiritual demands. The first chapter is the introduction. It illustrates the motivation, purpose, scope, method, and framework for this research. The second chapter illustrates the development of bird-and-flower painting history from realistic era to freehand style with ink painting, to further understand characters of bird-and-flower painting, such as spiritual consonance and metaphor. The third chapter discusses emotional energy in art including Eastern thinking of the relationship between sense and sensibility as well as the reflection of historical background and social environment, in order to understand the meanings of the so-called artistic conception. In addition, it explores the changing relationship of philosophy and will between subject and object within Western aesthetics, in order to understand the recognition and construction about emotional creation. Finally, two artists’ creative descriptions and their artworks are studied to discuss how to represent and connect emotions in the artwork. The fourth chapter is artist’s statement as well as analysis of artworks. It narrates personal persistency and belief, consideration of the selected subject matter, and the artmaking process. The fifth chapter is conclusion. It summarizes concepts and theories touch upon in this thesis. In addition, it concludes with personal prospect and direction for future creation.