三千髮詩－王春燕人物圖像彩墨探討
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(2) Graduate Institute of Fine Arts National Taiwan Normal University Master Thesis Associate Professor：Lin, Chang-De “The Poem for 3,000 Hairs”---A Discussion for the Characters of Human Subjects in Wang, Chun-Yen’s Chinese Colored Paintings Wang, Chun-Yen Jun. 2009.
(3) 謝 誌 學習無止盡，人生真美好；繪畫創作，是也。能從臺灣藝術大學書畫系畢業 後，進入臺灣師範大學美術系研究所攻讀，此機緣讓我成長許多，視野更寬廣。 當研究生學習的這幾年裡，首要課題是人生變化中五味雜陳的最深刻體驗；面對 阿嬤逝世的悲痛與家人團圓的欣慰，無法言喻內心百感交集等等的情感與心事， 全表於畫中；無論學業、工作、人生種種而來的問題與選擇，持續湧現，期許自 己三思而行、百折不回繼續前進。. 此創作論文的誕生與作品的呈現能通過，可以用「欣喜若狂」來形容我的心 境。這都要感謝我的指導教授林昌德院長，有林老師的諄諄教誨與一路的引導， 促使我的想法與實踐上能更廣、更深、更精進。多次請教林老師指導關於撰寫論 文的疑惑與創作困難等等的問題，言談中林老師總是懇切耐心的傳授我許多他獨 特的觀點與見解，頓覺靈感與思路更加明晰；在創作的過程中，很感謝林老師指 點迷津讓我克服與化解心中的不安，一點一滴的生活堆砌才有此成果。非常感謝 程代勒教授嚴謹忠肯的點出論文與創作上不足之處，有程老師的協助與提點，表 示未來還有進步的空間，亦是創作的動力；更要感謝臺藝大－書畫藝術學系林進 忠主任幽默風趣精闢且深入的剖析與建議，是自我充實的途徑與方向，論文內容 未及的部份也是日後重要的課題。衷心感謝三位教授細心的指正。. 感謝台師大曾指導過我的教授們，研一時期的王友俊教授、巴東教授、江明 賢教授、何懷碩教授、佘城教授、孫家勤教授、傅佑武教授、劉文潭教授、臺灣 藝術大學的劉素真教授……等；研二時期的李振明教授、莊連東教授、梁秀中教 授……等，有緣與不同領域的老師們學習各方面的眼界與視野，讓我滿載而歸重 新思考與出發；還要感謝陳瓊花副校長、陳慧娟教授、林仁傑教授、趙惠玲教授、 林逢祺教授、林達隆教授、陳淑美教授、姚啟元教授、張文哲教授、吳昭容教授、 蔡美好教授、馮翊綱教授、陳漢金教授……等師資培育中心及各系所，所指導過. i.
(4) 我的教授們的指引，讓我順利完成此階段的學業。感謝李奇茂教授、李轂摩教授、 黃光男教授、羅振賢教授、蔡友教授、黃才松教授、張克齊教授、吳清文教授、 陶晴山教授、感謝二信高中董事長謝修平、校長黃艮桁的大力贊助與鄭源政主 任、蔡桂英組長及行政處事曾幫助我的所有人；感謝我的國小教師倪玉英主任與 師丈……等，感謝老師們在「燕語墨香」展場與國父紀念館「三千髮詩」雙聯展 上的加油打氣。能跟這麼多好老師在藝術的堂奧遊藝其間是幸福的。再次感謝所 有曾經教導指正過我的老師們，有您們真好！. 最後要感謝爸媽與全部的家人、親戚、朋友、學長姊、學弟妹、同學以及關 心與幫助過我的人；家人的互相扶持衷心銘記。同時，感謝裱褙的陳先生與陳太 太，還有大綠印刷公司的涂先生與涂太太；感謝王從恕老師熱心幫我翻譯，讓我 的論文加倍精彩。寫到這已淚流滿面，要感謝的人真的太多了，有大家對我的愛 讓我的論文與畫展順利成功與圓滿，因為有您們的愛，處處溫暖，讓我們幸福滿 滿喔！還有感謝一路默默鼓勵我的李國治先生。除此之外，感謝自己努力的追求 與堅持，築夢踏實能夢想成真。將這本拙作論文獻給自己與大家，謝謝！. ii.
(5) 中 文 摘 要 本研究為延續創作動力，透過生活的體驗激發人文特性，在時空的替換中， 所呈現的各種面相。透析髮式與人身的關係，進而對它存在意義所產生的情感轉 換，並從創作的實驗中瞭解人物的圖像印記，透過個人心理的抒發，尋找更多元 性的創作方向讓「髮式」 、 「符號」 、 「風」形塑在這個創作主題上。醞釀創作之能 源理出「三千髮詩」創作意涵。. 探討古今社會階級人類以不同的髮型現象表現不同的身份地位，了解昔日髮 式之重要與美感經驗，體悟髮絲之美的千情萬種，並分析女性心靈之內在思維與 複雜情感層面，進行探索瞭解自己的內心世界。. 「三千髮詩」，是指一種思維的寄託、精神意念的表達。觀察當代髮型的社 會現象，如詩般浪漫。創作的動機從當下所處的心境及生活經驗，寓意到髮絲與 風的互動中。呈現一股思維的美感，並找出自我的繪畫特點，期以自身出發，尋 更多的契機與感動。. 第一章陳述了我創作的動機、目的，以及自身經歷和社會背景等。第二章則 探究古今中外髮式造型的來龍去脈、表現形式與相關文獻。第三章裡，談論女性 思維與個人藝術創作的意念、內在思考的因素、創作歷程的剖析。第四章則為「三 千髮詩」之創作理念與表現意涵。第五章創作實踐與作品解說。最後一章，總結 整篇論述，並展望未來的創作思維與走向。. 【關鍵字】：三千、髮、詩、女性、人物圖像. iii.
(6) Abstract The motivation for this research is to explore human characteristics of the way hair has been represented, in relation experience of life in Chinese paintings at different periods and in different places. Through discussion of the relationships between human subjects and their hair styles, I explore the feelings and transformed meanings of the reality in the paintings. Moreover, trying to make experimental paintings by myself, I find ever more possibilities and ways to express the human characteristic of “hair styles”, “symbols”, and “wind” in paintings. These are the reasons I discuss the painting “The Poem for 3,000 Hairs”. In discussion of hair styles in different social hierarchies now and then, I analyze the importance and aesthetic feelings about hair styles in the past; to explore the inner worlds and complicated feelings within women’s souls, and finally what is in my inner world as well. “The Poem for 3,000 Hairs” is a painting that expresses inner spiritual ideas about hair styles that existed in that time as a social phenomenon, and those inner spiritual ideas were rather like romantic poems. The motivation of this painting is to illustrate momentary mental states and life experiences through the meanings implied through inter-action between hair and wind. Chapter one states the motivation and purpose of this painting, and my own social experiences and background, etc. Chapter two explores the evolution of hair styles in a range of eras and places. Chapter three discusses the inner worlds within the female soul, the author’s ideas and thoughts, and the procession of painting. Chapter four explains the thoughts and implications of “The Poem for 3,000 Hairs”. Chapter five is the explanation of the process of creating this painting. The final chapter summarizes the statements made in this thesis and explores the directions of future developments.. 【Key words】： 3,000, Hair, Poem, Women, Characters of Human Subjects. iv.
(7) 目 次. 碩士學位考試委員會審定書 博碩士論文全文上網授權書 謝誌 ·················································································································································i 中文摘要 ····································································································································iii 英文摘要 ···································································································································· iv 目次················································································································································v 目次 表次 ·············································································································································vii 圖次··········································································································································· viii 圖次. 第一章 緒論 第一節. 研究動機與背景·························································································1. 第二節. 研究的目的···································································································2. 第三節. 研究範圍與限制 ························································································ 4. 第四節. 三千．髮．詩釋義 ····················································································5. 第二章 頭髮的歷史脈絡 髮的歷史脈絡 第一節. 頭髮的基本認識························································································7. 第二節. 從髮式看東、西方文化 ······································································ 12. 第三節. 頭髮的刻板與共識印象 ······································································ 35. 第三章 女性髮式 女性髮式圖像 髮式圖像的 圖像的表現與意涵 第一節. 唐代仕女的髮髻變化 ··········································································· 41. v.
(8) 第二節. 維納斯的髮型表現方式 ······································································ 45. 第三節. 美人畫髮式的探討················································································ 49. 第四章 「三千髮詩」 三千髮詩」之創作理念的 創作理念的意涵 第一節. 心畫的境界······························································································· 58. 第二節. 心境的表現······························································································· 59. 第三節. 創作的方法······························································································· 61. 第五章 創作實踐與作品解說 實踐與作品解說 第一節. 「墨抖春心」之創作系列 ································································· 65. 第二節. 「筆落燕安」之創作系列 ·······························································108. 第六章 結論 ····················································································································· 128. 參考文獻 參考文獻 ······························································································································· 130. vi.
(9) 表. 次 _. 表 2-2-1. 西方髮式的演變 ·············································································· 15. 表 2-2-2. 東方髮式的演變 ·············································································· 15. 表 2-2-3. 髮質基本構造 ·················································································· 27. 表 2-2-4. 毛鱗片的構造 ·················································································· 28. 表 2-2-5. 髮飾用途 ·························································································· 29. 表 2-3-1. 髮型的印象與聨想 ·········································································· 39. 表 2-3-2. 髮色的印象與聨想 ·········································································· 40. 表 3-1-1. 張萱〈搗練圖〉髮式的變化 ·························································· 42. 表 3-1-2. 周昉〈簪花仕女圖〉髮式的變化 ·················································· 44. 表 3-2-1. 波提且利〈春〉髮式的變化 ·························································· 47. 表 3-2-2. 波提且利〈維納斯誕生〉髮式的變化 ·········································· 48. 表 3-3-1. 上村松園〈美人觀書〉髮式的變化 ·············································· 52. 表 3-3-2. 上村松園〈娘深雪〉髮式的變化 ·················································· 54. 表 3-3-3. 上村松園〈焰〉髮式的變化 ·························································· 55. 表 3-3-4. 上村松園〈母子〉髮式的變化 ······················································ 56. vii.
(10) 圖. 次 _. 圖 2-2-1. 〈人類毛髮的演變過程〉 ······························································ 12. 圖 2-2-2. 〈維勒德夫的維納斯〉 ·································································· 14. 圖 2-2-3. 〈女人頭〉 ······················································································ 14. 圖 2-2-4. 〈勞塞爾的維斯〉 ·········································································· 14. 圖 2-2-5. 〈岩石繪畫〉 ·················································································· 14. 西方局部圖例 圖 2-2-6. 〈涅菲爾提提女王側面胸像〉 ······················································ 15. 圖 2-2-7. 〈新王國的埃赫那吞國王女兒的胸像〉 ······································ 16. 圖 2-2-8. 〈埃及底比斯，丈夫和妻子〉 ······················································ 16. 圖 2-2-9. 〈戴「薩科斯」帽子的婦女胸像〉 ·············································· 17. 圖 2-2-10. 〈羅馬理髮師石刻浮雕〉 ···························································· 17. 圖 2-2-11. 〈奧古斯都皇帝之妻莉維婭〉 ···················································· 18. 圖 2-2-12. 〈「奧比斯」髮型大理石女胸像〉 ·············································· 18. 圖 2-2-13. 〈聖母馬利亞前的馬克西米連和勃艮地的瑪利〉 ···················· 19. 圖 2-2-14. 老盧卡斯．克拉納赫. 圖 2-2-15. 李奧納多．達．文西 〈抱白鼬的淑女－瑟西莉雅．卡拉拉妮〉·· 20. 圖 2-2-16. 佚名. 圖 2-2-17. 山德羅．波提且利. 圖 2-2-18. J．馬爾尼爾. 圖 2-2-19. 杜邦. 〈卡薩莉娜．馮．波拉〉 ···················· 19. 〈伊莎貝爾〉 ···································································· 20 〈少婦之肖像〉 ······································ 21. 〈戴帽子的淑女肖像畫〉 ································· 21. 〈身穿女用寬服的少婦與理髮師〉 ································ 22. viii.
(11) 圖 2-2-20. 約翰．奧皮. 〈埃蜜利．波香和小馬駒〉 ································ 22. 圖 2-2-21. 享利．波恩. 〈漢密爾頓女士扮酒神巴克斯的女祭司〉 ········ 23. 圖 2-2-22. 〈潘美辰肖像〉 ············································································ 23. 圖 2-2-23. 安格斯．弗雷徹〈菲妮西婭．多蘿茜婭．赫曼斯的石膏胸像〉 ····· 24. 圖 2-2-24. H．羅賓遜. 〈比利時女王路易莎〉 ········································· 24. 東方局部圖例 圖 2-2-25. 〈花山岩畫祭舞圖〉 ···································································· 15. 圖 2-2-26. 〈人物龍鳳圖〉 ············································································ 16. 圖 2-2-27. （傳）顧愷之. 圖 2-2-28. 〈陶俑〉 ························································································ 17. 圖 2-2-29. 〈陶俑〉 ························································································ 17. 圖 2-2-30. 〈陶俑〉 ························································································ 17. 圖 2-2-31. 周昉. 〈簪花仕女圖〉 ································································ 18. 圖 2-2-32. 周昉. 〈簪花仕女圖〉 ································································ 18. 圖 2-2-33. 周昉. 〈內人雙陸圖〉 ································································ 19. 圖 2-2-34. 〈樹下持杖女侍〉 ········································································ 19. 圖 2-2-35. （傳）周文矩. 圖 2-2-36. 周昉. 〈內人雙陸圖〉 ································································ 20. 圖 2-2-37. 宋人. 〈宋仁宗后坐像〉 ···························································· 20. 圖 2-2-38. 何充. 〈摹唐媚娘像〉 ································································ 21. 圖 2-2-39. 宋人. 〈宋仁宗后坐像〉 ···························································· 21. 圖 2-2-40. 無款. 〈歌樂圖〉 ········································································ 22. 圖 2-2-41. 無款. 〈紡車圖卷〉 ···································································· 22. 圖 2-2-42. 仇英. 〈漢宮春曉圖〉 ································································ 22. 〈女史箴圖〉 ···················································· 16. 〈宮中圖〉 ························································ 19. ix.
(12) 圖 2-2-43. 陳洪綬. 〈調梅圖〉 ···································································· 23. 圖 2-2-44. 無款. 圖 2-2-45. 郎世寧. 圖 2-2-46. 焦秉貞〈仕女圖〉 ········································································ 24. 圖 2-2-47. 〈民國女子肖像〉 ········································································ 25. 圖 2-2-48. 日本藝伎的髮型代表不同的身份 ················································ 26. 圖 2-3-1. 社會環境的框架下影響個人頭髮成長的痕跡與面貌 ·················· 36. 圖 3-1-1. 張萱. 〈搗練圖〉 ·········································································· 41. 圖 3-1-2. 周昉. 〈簪花仕女圖〉 ·································································· 42. 圖 3-2-1. 波提且利. 〈春〉 ·········································································· 46. 圖 3-2-2. 波提且利. 〈維納斯誕生〉 ·························································· 46. 圖 3-3-1. 鈴木春信. 〈柳的川岸〉 ······························································ 50. 圖 3-3-2. 喜多川歌磨. 圖 3-3-3. 葛飾北齋. 〈二美人圖〉 ······························································ 50. 圖 3-3-4. 葛飾北齋. 〈雪中美人〉 ······························································ 50. 圖 3-3-5. 鈴木松年 ·························································································· 51. 圖 3-3-6. 幸野楳嶺. 〈水仙和小鳥(一)〉···················································· 51. 圖 3-3-7. 竹內栖鳳. 〈盛粧美人〉 ······························································ 51. 圖 3-3-8. 竹內栖鳳. 〈羞怯出浴〉 ······························································ 51. 圖 3-3-9. 上村松園. 〈美人觀書〉 ······························································ 52. 〈金盆撈月圖〉 ································································ 23 〈慧賢皇貴妃像〉 ························································ 24. 〈夏衣裳當世美人〉 ·············································· 50. 圖 3-3-10. 上村松園. 〈娘深雪〉 ································································ 53. 圖 3-3-11. 上村松園. 〈焰〉 ········································································ 53. 圖 3-3-12. 上村松園. 〈母子〉 ···································································· 53 x.
(13) 圖 4-3-1. 工寫並貌實驗步驟 ·········································································· 61. 圖 4-3-2. 等比例草圖打稿的歷程 ·································································· 62. 圖 4-3-3. 滴墨聯想實驗步驟〈女人花系列 003〉 ······································· 64. 圖 5-2-1. 王春燕. 〈阿嬤的手〉 ································································ 108. 作品〈一〉. 王春燕. 〈飄〉········································································ 66. 作品〈二〉. 王春燕. 〈女人花系列 001～036〉······································· 78. 作品〈三〉. 王春燕. 〈華漾 I、II〉 ························································· 106. 作品〈四〉. 王春燕. 〈金色童年〉·························································· 111. 作品〈五〉. 王春燕. 〈三千髮詩〉·························································· 114. 作品〈六〉. 王春燕. 〈寓言〉·································································· 118. 作品〈七〉. 王春燕. 〈聽風〉·································································· 120. 作品〈八〉. 王春燕. 〈遺忘〉·································································· 122. 作品〈九〉. 王春燕. 〈彷彿〉·································································· 125. xi.
(14) 第一章 第一節. 緒論. 研究動機與背景. 一、發現我 為何選擇人物畫？為什要畫女性？為什麼有這麼多的為什麼？以為繪畫只要畫 我自己想畫的即可。我個人的繪畫從周遭的外在世界，進而轉化沉澱於內在的心靈。 我本身是一位女性，選擇以女性為題材。因自小歷經人事滄桑及種種憾事而養成早 熟的個性與獨立，因愛上繪畫，故藉畫作來抒發心中之情感，企盼心靈能量的釋放， 經由彩筆，揮灑自己內心世界與體現自己的夢想，是本論文的重心。 回顧過往，從小我便開始蓄著長髮，直到上國中的那年暑假被強制剪掉。民國 七、八十年代，在社會的規範體制下有髮禁，女生上國中必須剪掉長髮到耳下 1 公 分之短；男生必須理成三分或五分平頭。這樣的經歷成為我心靈與人生的成長中畫 上一道除不掉的烙痕；那天一刀剪下，我完全崩潰嚎啕大哭一場，年幼的我還不能 說出心中的感受，漸漸的長大了才真正體驗到為何而哭，除了不捨之外，更重要的 是它就如同身邊的親人離我而去的那般感受。及腰的長髮要等上好幾年的歲月才能 換來，而且剪掉的頭髮也接不回來，就像生命與大自然的生與死交替。雖然頭髮還 可以再生長，但已不再是之前的那個髮，您只能重新來過換個面貌生活而那個人還 是妳？ 人們都會認為剪了之後會再長，沒關係，或許……。其實我的心裡根本不是長 不長、美不美、可不可愛的問題，我想，應是覺得自己無法為自己作主的無力感， 對當下的環境的一種無言的反抗（哭），以及一種被迫的不自由的沮喪。此次的研 究主題是「三千髮詩」，為尋找自我繪畫脈絡的當中，我發現這讓我一直回到我的 從前，想起小時候的點滴，與心情感受，於是我開始發現我，是自我探尋的一個好 方法，且創作主題也依循著這條有跡可循的途徑去嘗試找回自己。 1.
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