「海 · 人」－海洋場域中的人類樣態繪畫創作研究

Abstract

「海 · 人」，將字平面化來拆解，可以解釋成為——海是人的母親。台灣是一個四面環海的島嶼，但是台灣人相對的對於海卻沒有很親近，長輩們在筆者小時候便開始耳提面命，海洋是未知的、是危險的、是兇殘的，每當我們接近海邊總是提醒我們要多加小心，也許因為這樣的社會風氣，台灣海洋教育相對不被著墨，台灣富含多樣的珊瑚種類、熱帶魚，甚至是國際級的潛點，我們身處這樣豐富的環境卻不自知，而隨著研發改進，人們越來越容易得以親近海洋。 人類不斷地從海洋索取能源、食物，建立文化、經濟，就如同海洋是人類的母親，無所保留的為強褓中的嬰孩無條件的付出，使之成長茁壯，但是母親也會生病的，在這樣能源供應無上限的情況下，地球漸漸不能負荷人類的貪慾，氣候變化越來越無常，人們應該要開始正視保護環境的重要性，並從自身做起。筆者希望透過以實際與海洋接觸的經驗，使之實體視覺化、平面化，讓被海洋環繞的台灣人，能夠看到如同國人自傲的太魯閣國家公園般，能夠以我們所擁有的這些海下的寶藏為傲，並且珍視這些海平面下的風景，透過海洋生態系的相互關係，省思人類與之的互動模式，探討海與人的關係，進而進入海、讓海洋成為自己的一部份，進而成為「海人」。 論文總共分成六個章節，第一章解釋以海人為創作基底的動機與目的，第二章前半段主要以肖像畫歷史、表現派繪畫、照相寫實創作表現為主，後半段簡易說明人類水下活動的種類；第三章為創作理念背景，闡述海人的角色與海洋場域的意象，並且說明水下肖像的特點；第四章說明技法表現，第五章為作品個別論述，第六章為結論。

“Oceaner” can be interpreted as ocean is mankind’s life giver, if people analyze the term thoroughly. Taiwan is an island surrounded by seas from all aspects, yet Taiwanese people are not really familiar with oceans. Elders have been warning me ever since I was small—ocean is unknown, dangerous, and vicious. People were constantly reminded to be extra careful if near the water; therefore, marine education in Taiwan was not prevalent. Taiwan comprises various corals, tropical fish, and a spectacular surfing spot. Though unaware such rich environments and surroundings, people are learning more about oceans along with the developments in research. People constantly obtain resources, food and establish culture also economy within ocean as if a mother would behave so to her own children: give without hesitation, nurture them to grow and be strong. However, a mother cannot provide unlimitedly. The earth is weakening from people’s greed, and the climate is getting fickle, so people need to start emphasize the importance of protecting the environments with actions. Having actual experiences with the oceans can make them visible, even three-dimensional to Taiwanese people so they can be proud of the oceans as they are proud of the Taroko National Park. People can be proud of the treasures within water, and cherish the landscapes underneath the sea level. People can contemplate on the interactions with the marine through observing the interrelationships of marine ecology, and further think about the relationship with the ocean; wet the feet, be a part of ocean and transform into oceaners. My thesis is divided into six chapters: chapter one explains the motivation and objective of using oceaner as my painting foundation, early chapter two demonstrates the history of portraits, Expressionnisme, and Photorealism; the rest of chapter two briefly discusses different kinds of water activities, chapter three comprises my concept of creation and background elaborating on oceaner, also the image of ocean field and the characteristics of portraits underneath water; chapter four illustrates the painting techniques, chapter five introduces the paintings individually, and chapter six is the conclusion.