境．太魯閣三部曲 — 黃英添彩墨創作論述
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2023
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臺灣當代的繪畫，是由日治時期的早期西畫家、膠彩畫家、及國民政府治理臺灣後的水墨畫家，三股支流匯聚而成現代架上繪畫的洪流。當代水墨畫家，承繼先賢的腳步，在以「臺灣思考」為優先的理念下，無論形式、題材、媒材與技法，在本土化的驅力下試圖找出自己的辨識度，並以「彩墨」一詞為創作的指標，試圖在國際激流下，圖繪臺灣的人文、風土、地貌…等，建立屬於臺灣的繪畫風格。筆者秉持著上述理念，並思考以「意象」、「想像」的思維，透過技法、媒材、形式的操作，呈現臺灣特殊的地貌風格及個人作品的辨識度。
本文分為五大部分：第一章緒論，包含創作及研究動機，創作及研究目的，創作論述方法與步驟，創作論述範圍與限制等。第二章「境．太魯閣三部曲」相關學
理探悉。第三章個人創作理念與技法分析，包括思維、媒材、技法、表現形式，及個人「彩墨」辨識度的形成。第四章個人創作實踐與解析，包含個別作品的解析，及展覽作品的展示。第五章結論，包含個人作品辨識度的形成、省思、與前瞻。
Taiwan's contemporary painting is a torrent of modern easel painting converged from three branches; the early Western style painters during the Japanese occupation period, glue color painters and ink painters after the Nationalist government ruled Taiwan. Under the concept of "Taiwan Thinking" as their priority, regardless of form, subject matter, medium and technique, the contemporary ink painters follow the footsteps of their predecessors to find their own identity under the local drive. Theyuse "TSAI-MO ART", a term indicating creation, to represent Taiwan's humanities, soil, and landforms under the international torrent in order to build a painting style belonging to Taiwan. The author adheres to the above-mentioned concepts, and uses the thinking of " image" and "imagination" to present Taiwan's special landform style and the identity of personal works, through the application of techniques, media, and forms. This thesis is divided into five parts: Chapter 1 is Introduction, including the motivation of creation and research, the purpose of creation and research, the methods and steps of creation discussion, and the scope and limitation of creation discussion. Chapter 2 explores the related theories of"Jing,Taroko Trilogy". Chapter 3 is the analysis of personal creative ideas and techniques, including thinking, media, techniques, forms of expression, and the formation of personal "TSAI-MO" recognition. Chapter 4 is a personal creative practice and analysis, including the analysis of individual works and the display of exhibition works. Chapter 5 is the conclusion, including the formation, reflection, and prospect of the recognition of personal works.
Taiwan's contemporary painting is a torrent of modern easel painting converged from three branches; the early Western style painters during the Japanese occupation period, glue color painters and ink painters after the Nationalist government ruled Taiwan. Under the concept of "Taiwan Thinking" as their priority, regardless of form, subject matter, medium and technique, the contemporary ink painters follow the footsteps of their predecessors to find their own identity under the local drive. Theyuse "TSAI-MO ART", a term indicating creation, to represent Taiwan's humanities, soil, and landforms under the international torrent in order to build a painting style belonging to Taiwan. The author adheres to the above-mentioned concepts, and uses the thinking of " image" and "imagination" to present Taiwan's special landform style and the identity of personal works, through the application of techniques, media, and forms. This thesis is divided into five parts: Chapter 1 is Introduction, including the motivation of creation and research, the purpose of creation and research, the methods and steps of creation discussion, and the scope and limitation of creation discussion. Chapter 2 explores the related theories of"Jing,Taroko Trilogy". Chapter 3 is the analysis of personal creative ideas and techniques, including thinking, media, techniques, forms of expression, and the formation of personal "TSAI-MO" recognition. Chapter 4 is a personal creative practice and analysis, including the analysis of individual works and the display of exhibition works. Chapter 5 is the conclusion, including the formation, reflection, and prospect of the recognition of personal works.
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太魯閣, 彩墨, 臺灣思考, 意象, 境, Taroko, TSAI-MO, Taiwan Thinking, Image, Jing(Artistic Concept)