水墨韻律視覺化形式之探討

Abstract

本文的論述重點，為水墨韻律視覺形式之探討，以西方繪畫理論與中國繪畫理論為基礎，進而影響自我創作之歷程，作更深入的陳述和解析，全文內容重點說明如下： 理論基礎與文獻探討 經由此階段性的研究，所得到於不同以往的創作信念，加以闡述。可分四點，一為「書畫共體」：藉由中西繪畫理論，尋其相似之論點做比較；二為「筆、墨、彩合一」：整理筆、墨、彩之相關理論與創作之關係；三為「形式之優勢」：引述西方繪畫之形式理論予以運用於水墨畫形式之革新；四為「平面繪畫視覺化」：將視覺理論帶到中國水墨之創作上，得其新意。而這四點，將作為自我未來創作的重要依據。 創作之思維 陳述自身對水墨創作的思維方向，創作約略可分三方面，一是題材選定，為題材的選擇和創作的動機；二是作畫動機，為自我對創作的態度，及對作品的要求；三是技法追求，以心靈的觸動為基點，選用合適的的技法表現作品。 創作之歷程 就研究的階段，與創作歷程的關係，透過作畫心得的解說，相互驗證。可分成四個階段： 一、摸索期：由人體素描切入，先試圖瞭解基本人體構造，從中學習人 體組構所有的可能性。 二、試驗期：為自身與模特兒交談互動與即時所播放之音樂所感受的過程，所得到的感受，時而從中獲得創作感知的學習階段。 三、融合期：嘗試將水墨質材之特有的韻緻發揮，希望將其特色與創作者當時的感受交流，由客觀的質材所能做出的可能性，到創作者將感知整體呈現於平面上所造成的影響，驥望漸漸進入創作的核心，進而得到探討的主體意識。 四、發展期：累積了先前的經驗過程，所探討出的主體意識進行發展與運用的動作。由即時的參與畫室中動態人體之律動與音樂氣氛的感染力中，盡情發揮，釋放感受力與情感，結合平面繪畫空間的安排，與質材特有的屬性作系列之發展與探討，希望不斷積累繪畫的經驗。 五、歸結期：將繪畫經驗所積累之心得落實於作品的展現中，並對筆、墨、色彩交互運用後所產生的關係，作更多研究，並將畫面的營造趨向視覺化效果之追求並希望引發回響與討論。Based on western paining and Chinese painting theory, the essay will be discussed the form of water ink’s meter. Further, I will go on to talk about how it affects the process of self-creation. Meanwhile, the discussion will be stated and defined deeply. The outline of whole content is as following explanation. Theory and documents Through the research on this phase can have a totally different creative belief, which could be stated as four main points. First one is putting calligraphy and painting all together to seek the similar point and compare it at the same time according to Chinese and western paining theory. Second is to merge pencraft﹑ink and color into one unit. In the part, I will organize the relationship between theory and creative works related to pencraft﹑ink and color. The third one is the priority of form. It is the revolution that quoted formal theory of western paining, carry it out in water ink paining form. Finally, visualize the plane painting. The visualization theory will be performed in Chinese ink painting producing a band new prospect. The above four will be the vital guidelines for my creative works in the future. Progress of creating Combining the research phase with progress of creation, narrate an idea learned from painting to test and verify mutually. Above all, I conclude four phases to explain. 1.Phase one is groping time. Try to understand the basic human structure from the figure drawing, and then learn all possibility of human construction. 2.Phase two is testing and verifying time. It is the process of obtaining feeling from talking and interacting with models while music is playing. This is the learning phase I can usually obtain creative perception from it. 3.The third phase is merging time. By elaborating the particular lingering charm of ink in expectation of exchanging its characteristic and people’s sensation when they created something. From the possibility of what subjective material can make to the effect when person who creates brings the whole perception into a flat. In the hope of gradually fit in the core of creative works and explore their main conscious. 4.The forth is developing time. Probing the subjective conscious and the movement it used to ground on the accumulating past experience. By means of participating while immediately into the temperament of human body and music atmosphere in artist’s studio can relief your feeling ability and emotion. Associate these movements with the space arrangement of faced paintings. With a set of development and discussion in particular attribute of material, then accumulate painting experiences constantly 5.The last one is attributing time. Bring accumulated painting experience into the display of creative works. Thus , do more research on the consequence while using pencraft﹑ink and color reciprocally. Further, seek the visualization effect of picture and attract response and discussion.