私・園林—黃宇丞創作論述

Abstract

此創作論述是以園林作為發想，「園林」一詞概念大至公園小至居家庭院一花一草一木，此次創作聚焦在街景庭院、植栽盆景，文青風的觀葉植物與復古風的花磚交織出台灣的園林特色。本研究內容主要分為兩個部分：一為園林；二為園林繪畫。在園林的部分，主要梳理園林的歷史脈絡、分析園林美學的表現性與再現性、探討園林與各項藝術的相互影響；在園林繪畫的部分，筆者將園林繪畫大致歸為三類，分別舉出相對應的藝術家做為分析：一為「私・園林」中的植物象徵以董小蕙和王興道為例，董小蕙透過描繪茶花表得對母親的思念；王興道以松樹植栽比喻成自己，警惕自己如同植栽一般需不斷的修剪與矯正，方能盡善盡美。二為「私・園林」中的空間表現，以陳其寬為例，陳其寬以想像的「意眼」戲劇性的佈局，以「游」的心境，以移動的視點構築曲曲折折的宅門深院，空間動線連綿無盡的流動性與時間週轉不息的流動性，交合爲一，營造出如真似幻的空間情境。三為「私・園林」情境營造，以于彭、潘信華為例，于彭以裸身相吻的男女、或是相鄰但不互動的男性與女性形象，更隱晦表現出現在社會中錯綜複雜情慾關係。這些圖像流露出濃厚的都會性格，看似疏離冷漠的外表下，寓含著內在的不穩定與對心靈烏托邦的追求。潘信華以嘲諷揶揄又詼諧的情調手法，讓孩童刻意模仿古代文人的生活場景、古典詩詞的意境情懷，凸顯出過去與現在的差距感，也正如被現實望斷而不存在的桃花源。透過梳理園林各項資料、文獻，歸納園林繪畫創作方式，加上筆者個人的生活經驗，尋找出屬於筆者自己的創作語境。This creative thesis is based on the idea of the garden. The word“garden” can refer to concepts as large as a park or as small as flowers, grass, and trees in a home garden. This creation focuses on the features of Taiwanese gardens, which are an interweave of street gardens, bonsai art, artistic foliage plants, and retro tiles with geometric patterns. The contents of this study are divided into two sections: gardens and garden paintings. In the section regarding gardens, the study primarily aims to sort out the historical context of gardens, analyze the expressiveness and reproducibility of garden aesthetics, and explore mutual influences between gardens and other art genres. In the section regarding garden paintings, the author broadly classifies them into three categories and cites corresponding artists in the analysis. The first category focuses on botanical symbolisms in“private garden”. Dong Xiao-Hui and Wang Xing-Dao are artists given as examples. Dong Xiao-Hui expresses her longing for her mother through the portrayal of camellia, whilst Wang Xing-Dao analogizes pine trees to himself as a reminder that he is similar to plants, which require pruning and trimming to attain perfection. The second category focuses on spatial expressions in “private garden”, with artist Chen Qi-Kuan being cited as an example. Chen Qi-Kuan constructs the twists and turns of courtyard compounds by utilizing dramatic layouts of the imaginative “inner eye”, the “wandering” state of mind, and a shifting viewpoint. The continuous flow of space is intermixed with the continuous flow of the time cycle to create an illusory spatial situation. The third category focuses on the creation of artistic conception in “private garden”, providing Yu Peng and Pan Xin-Hua as illustrations. Through the presentation of naked men and women kissing each other or being side by side but having no interactions, Yu Peng employs a more subtle way to display the complexity of erotic relationships in society. These paintings show a strong demonstration of the metropolitan atmosphere, which, under its seemingly detached and indifferent appearance, holds the implication of inner instability and the pursuit of a spiritual utopia. Applying a mocking and humorous approach, Pan Xin-Hua lets children deliberately imitate the lifestyles of ancient literati and the expressions in classical poetry, emphasizing the gap between the past and the present and resembling the non-existent Peach Blossom Garden sought by society. By reviewing various data and literature on gardens, summarizing ways to create garden paintings, and combining the author’s personal experiences, the creative context of the author is established.