現當代水墨語境下的「築•居•思」—— 陶亞萍水墨創作論述

Abstract

「築•居•思」的理念取自於德國著名哲學家海德格爾的思想，由他對「築•居•思」這一問題的思考引發了我對水墨創作的思考。從19世紀初，有關水墨藝術語境的問題就被人們所關注和探討，伴隨其藝術形式及其文化背景的轉換，成為當下最引人關注的文化現象之一。本文以現當代水墨語境下的「築•居•思」為題，探討現當代水墨在創作思想、筆墨技法和審美意象方面與傳統水墨的關聯和承續關係，通過對水墨藝術的環境、創作、藝術家的個案分析，探究現當代水墨語境對「築•居•思」主題的影響，實現水墨語境與「築•居•思」主題創作的有效結合。 論述分七個部分，第一部分說明論述的緣由，分析現當代水墨藝術語境下「築•居•思」建構，整理論文的研究目的與動機、內容與範圍、意義與方法。第二部分探討現當代水墨與傳統水墨的語境關聯。三者之間在時間演進、創作思想、筆墨技法、審美意象上均屬文化承傳行為。第三部分分析現當代水墨的多元語境形式，以此對「築•居•思」的主題創作有所啟發。第四部分論述現當代水墨語境的地域性，以江蘇水墨為區域性案例，探討水墨在藝術精神、哲學思想方面與傳統的關係以及自身新觀念的變化。第五部分「築•居•思」創作理念的闡釋，以「築•居•思」作為整個系列作品的主題，將「築造」、「棲居」、「運思」從理論轉化至實踐的獨白，進而創作出具有個人風格的作品，總結出自我創作過程中的方向性與可行性。第六部分系列創作實踐與作品解析。最後結論部分，從中國文化自身的高度總結了系列作品的文化內涵，從而指出水墨畫的發展需要返回自身的文化之根並進行語言更新，才能在現當代語境中獲得新的發展。The idea of "construction•inhabitation•thought" is derived from the thought of Heidegger, a famous German philosopher, and my thinking on ink creation has been aroused by his thinking on the topic of "construction•inhabitation•thought". Since the beginning of the 19th century, people have paid attention to and discussed the context of ink art. With the transformation of its artistic form and its cultural background, it has become one of the most concerned cultural phenomena at present. In this paper the writer analyzes the relationship and inheritance between modern and contemporary ink painting and traditional ink painting in terms of creative thought, ink art techniques and aesthetic images, and she probes into the influence of modern and contemporary ink painting on the theme of "construction•inhabitation•thought" through the analysis of the environment, creation and some cases of artists so as to realize the effective combination of ink art and its context and the theme of "construction•inhabitation•thought". The paper consists of seven parts. In the first part the author explains the reasons for the paper, analyzes the construction of "construction•inhabitation•thought" in the context of modern and contemporary ink art, arranging the research purpose and motivation, content and scope, significance and method of the paper. The second part expounds the contextual relevance between modern and contemporary ink and traditional ink. Among them, the evolution of time, creative thought, ink art techniques and aesthetic images all belong to the behavior of cultural inheritance. In the third part the writer analyzes the pluralistic context form of modern and contemporary ink art, so as to enlighten the theme of The fourth part gives the explanation of regional nature of modern and contemporary ink painting. Taking Jiangsu ink art as a regional case, the writer adds the relationship between modern and contemporary ink and traditional ink, especially in terms of artistic spirit, philosophy and tradition, as well as the changes of its own new concepts. The fifth part is the explanation of the creative concept of "construction•inhabitation•thought"--the theme of the whole series of works, transforming "building", "living" and "conception" from theory to practice monologue, and then creating works with personal style, and summing up the direction and feasibility in the process of self-creation. The sixth part is the series creation practice and the work analysis. Finally, the conclusion summarizes the cultural connotation of the series of works from the height of Chinese culture itself, and points out that the development of ink painting needs to return to its own cultural roots and renew its characteristic in order to obtain further advance in the modern and contemporary context.