片斷．心轉－汪昀萱水墨創作研究

Abstract

經歷，過程，記憶，每一個人的生活實踐所成的印記，都是繁雜龐大的體系。本文以“遷”的災難為主題。藉由熟悉的成長印象討論自身生命“災難”所乘載的前半生的意義。如何在水墨創作中去療癒所留下的傷痕，透過敘事的人、事、物，由視覺的敏感空間墨留的搭配，給予觀者更多想像的空間。遷的歷程，因人的機遇而不同，追憶也是生命的實踐方法之一，通過眷村的災遷，九二一的傷痕創痛，這些記憶圖像所描繪的情境，無非是以過去對未來的期待，由每個年時的碎片再現真實的由創作中重構。 記憶本身會伴隨著每個人生活，有過去的印記是複雜，龐大的生活體系，追憶又是一種與現在附合的實驗方式，作品的圖像、故事、傳說，塑造出憶起經驗的想象與對過去的釋放。這些所有天災、地變、人禍的記憶碎片，再追憶拼湊，疏離了災難中的痛，及無法抹去的悲傷。用思索的記憶，和過往印記為出發點，把歷史的痛，天譴的傷，自作品中推移出來，經過創作的洗禮，內心感受到巨大變化，這些“過去”重新組合的情境，推移重生。石濤《畫語錄》提及：「夫一畫含義物中，畫愛墨、墨愛筆、筆於腕、腕於心。」繪畫作品本身蘊藏畫者真實的情感與其心境，不論內在的情境或心境都結合了筆者對人生的傷痛意識表態。 本文分為五大章節：第一章緒論，內容包括研究動機與目的、研究方法與內容、研究範圍、名詞釋義；第二章試以個人歷程記憶而生之因時造境、因心造景之創作理念與學理，分三小節，一變眷村、再變九二一、畫說災難；第三章作品思維與歷程，分析記憶人生的三節敘述結構，故事性的結構、鏡頭式的建構取景及共同的語言災難；第四章個人作品創作解析，分四小節，自眷村系列蛻變至九二一“祭”系列，至進入師大再造心轉重生及心轉外篇系列；第五章結論，期許透過此次創作的實驗與研究，達到再進化心境之成長，並借鏡災難重新出發，發現生命的價值。

Experiences, processes and memories form each individual's life forms a complex system. The study takes "migration" as the theme. By the means of disaster self-experience in the younger age, the author discusses the meaning of the first half of life and heal the wounds through creating ink-wash paintings. The artworks gathered the elements of experiences and memories and composed the visual sensitive space which gives the viewer more imagination. The process of migration is different because of people's encounters. Remembrance is a way of responding to life. Through the catastrophe happened in the Juancun, and the painful scars of 921, the scenes depicted the expectation of past toward the future and recreated by the fragments of each period. Memory itself is something that people take with them through their whole life. The life structure formed by past memory and experience is both massive and complicated, and to recall the past is a testing method to conform the current. The images, stories, myths in the work piece creates an imagination of experiences and release of the past. All these memory fragments of natural and man-made disasters are recalled and patched together, drifted apart the pain in the catastrophe and sorrow that can never be erased. Using the marks and traces left in the memory as a starting point, extract the pain and suffer from the past out of the work piece, baptized by the process of creation, experience a huge impact in the heart. After all these elements from the past are reassembled, new scenarios are reborn. Shi Tao's "Enlightening Remarks on Painting" mentions that "Of all the meaningful things in paintings, painting loves ink, ink loves pen, pen on the wrist, wrist to the heart." The painting itself encompasses the true emotions of the artists and their moods, regardless of the inner scenario or the state of mind combines the author's attitude towards the pain of life. This essay consists of five chapters: chapter one is introduction, including purpose and motivation of research, research method and content, research area and term explanation. Chapter two based on the theory of creating scenario and landscape according to time and mood, consists of three parts: change of juancun, after 921, catastrophe in drawing. The third chapter describes the thinking process of the work, analyzing the three story-telling structures of life memory: the story structure, camera-style structure and shared language disaster. The fourth chapter is analyzing of personal work, consists of four parts: from the series of juancun to the series of “scacrifice of 921”, rebirth of heart after entering this university. Chapter five is conclusion, wishing growth from this journey of research and experiments, repack everything after the disaster and set on a whole new journey, to discover the meaning of life.