景觀敘事–文化景觀時空並置藝術創作研究

Abstract

景觀敘事隱含著歷史敘事文本，也連結著個人成長歷史、經歷與記憶的圖像。本創作研究旨在透過文化景觀，探討記憶圖像對自身生命存在的意義，與景觀所承載的場所故事，並進一步探討對觀看者個人與社會之意義。研究首先透過回憶與探查，爬梳童年成長空間的記憶圖像，擴展至個人所參與考察評審的文資空間，選擇對個人及社會具有意涵之文化景觀，建立問題意識與研究範疇。第二章文獻回顧探討相關景觀敘事、地方感、圖像敘事等文獻，並由藝術史剖析藝術創作思想脈絡，探討創作觀點與表現比較，建立圖像、空間與時間的系譜脈絡。第三章建構創作理念與實踐步驟，整合為創作實踐三系列。第四章為創作作品解析，針對「懷舊敘事」、「不存在的存在」、與「時空並置」三系列之作品進行詮釋。研究並收集展覽現場創作者與閱覽者互動交流的感受與回饋問卷共144份，歸納閱覽者喜歡之原因有(1)與個人記憶、文化歷史、地方感之情感相關；(2)與畫境氛圍、虛實空間、寧靜溫暖所形塑之感知相關；(3)與美學構圖、色彩、繪畫技巧等相關。最後總結討論景觀敘事對藝術創作者與觀看者之意涵，景觀敘事創作實踐，與社會生活美學的期許與展望。

Landscape narrative implies historical narrative text, which also connects images of personal growth history, experience, and memory. This creative research aims to explore the meaning of memory images to one’s life existence and the story carried by the cultural landscape and investigate its significance for individuals and society.Through recall and exploration, this study first crawled the memory images of the childhood growth space and then extended them to the historical and cultural spaces where the researcher participated in the investigation and review of projects. The researcher entered the sites to observe and select cultural landscape sites that are meaningful to both individuals and society, then established research issues and scope. The second chapter reviewed relevant literature on landscape narratives, sense of place, image narratives, historical illustrations, etc., and analyzed the ideological context of artistic creation, establishing a genealogy of thinking on the integration of image, space, and time in various aspects. The third chapter summarized the various aspects and practical steps of landscape narrative creations and integrated them into three painting series. Chapter four is an analysis of creative works, interpreting three series of works: “nostalgic narrative”, “absent existence”, and “juxtaposition of time and space”.The research collected a total of 144 questionnaires at the exhibition site to get the interactive feelings and feedback comments between creators and viewers. The reasons why viewers like the works are summarized as (1) related to personal memory, cultural history, and emotions of place; (2) related to the atmosphere of the painting, the perception shaped by virtual and real space, tranquility, and warmth; (3) related to aesthetic composition, color, painting techniques, etc. Last but not least, the research discussed the implications of landscape narrative creation for art creators and viewers, the practice of landscape narrative, and the expectations and prospects of social life aesthetics.