靜觀萬物皆自得-照像寫實繪畫研究

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(1)國立臺灣師範大學美術學系美術創作碩士在職專班西畫組. 碩士論文. 靜觀萬物皆自得－照像寫實繪畫研究 All things could be contented with quiet appreciation - Investigation on the application of photographic techniques in still life. 指導教授：陳淑華教授. 研究生：古雅仁撰中華民國一０八年六月. 0.

(2) 摘要本文論述與創作的核心，希望透過繪畫作為自我檢視與探究的手段，回到繪畫的原點，重新審視其意義與初衷價值，藉由描繪對象以及創作手法的繪製歷程，與個人的藝術思想和創作理念，察覺自我慣性的現象，放下自我習慣的藝術性的與思想探索的建設與破壞歷程，建構出本文創作系列的作品，和進程的美學思想。第一章緒論，說明研究的動機及目的，透過論研究的靜物及花卉，釐清創作的理路，探索繪畫的心靈及物我兩造的覺知。第二章創作的方法及分析，透過寫生的靈感收集，以及照相機及 App 軟體的輔助，對於色彩、光線及表現技巧的分析。第三章在說明創作的理念以及思想，創作過程中觀察、感受、理解、表現的創作模式探討，了解繪畫過程中意念的變化，探索觀看與大腦運作的關係。第四章主要針對「靜觀自得」、「蛻變」、「寂靜潔白」、「花」和「詩意蔓延」等系列作品進行分析與探討。第五章由「靜觀自得」到「詩意蔓延」等系列的創作，是加法與減法的創作歷程，先化繁為簡，純化提煉，再由簡入繁，萬取收一再以一寓萬。透過這本文研究與探討，發現從初期的加法概念創作，慢慢地每一次都如同是在減法的過程，但每一次的減法讓自己更進入另外一個沒有探索過的小世界，也讓筆者體會到還有許多浩瀚的空間，值得繼續去探討與感受，當下的感動透過創作讓自己不斷地進行物與我的對話，也不斷的向內探索進去，發現未知的自己，不知覺形成藝術理念的加法之法。. 關鍵字：靜物畫、花卉、照相寫實、詩意. i.

(3) Abstract This paper discusses the core of creation and hopes to use painting as a means of selfexamination and inquiry, to return to the origin of painting. I re-examine the meaning and original value of painting through depicting the object and the creation process of painting, and the individual artistic thoughts and the concept of creation, Perceiving the phenomenon of self-inertia, letting go of self-accustomed artistry, and ideologically exploring the process of construction and destruction, to construct the series of works and the in process aesthetics thinking of this study. The first chapter is the introduction, explaining the motives and purposes of the research. Through the study of the still life and the flowers, I clarify the creative path and explore the soul of the painting and the awareness between the artist and the objects. The second chapter is the method and analysis of creation. Through the inspiration collection of sketching, and the assistance of cameras and App software, I analyze the color, light and performance techniques. The third chapter is the explanation of the idea and thought of creation. Through exploring the observation, feeling, understanding and expression of the creation mode in the creation process, I understand the changes of ideas in the process of painting, and. explore the. relationship between viewing and brain operation. The fourth chapter focuses on the analysis and discussion of a series of works of "Contemplation", "Transmutation", "Silent White", "Flower" and "Poetry Spread". The fifth chapter is the deep exploration of a series of creations from "contemplation" to "poetry spread". It is the creative process of addition and subtraction. I first simplify everything, purify and refine everything, then transforming simplicity to complexity, that is to take one from ten thousand and imply all things with one. Through the research and discussion of this study, it is found that from the initial concept of addition, slowly turning to be like the process of subtraction step by step, but each subtraction allows one to enter another smaller world that has not been explored. And it makes the author understand that there is still a lot of vast space worthwhile to explore and feel continuously; the current moving through the creation not only lets yourself engage in dialogue with things continuously, but also constantly explore inwardly, discover the unknown, and then form the artistic concept of the method of addition unconsciously. Keywords: still life, flowers, photorealism, poetry ii.

(4) 目. 次. 第一章緒論································································································································· 1 第一節研究動機與目的 ··················································································································· 1 一、研究動機 ·········································································································································· 1 二、研究目的 ·········································································································································· 1 第二節研究內容與重點 ··················································································································· 2 一、研究內容 ·········································································································································· 2 （一）靜物 ··············································································································································· 2 （二）花卉 ··············································································································································· 2 （三）技法材料與色彩 ······················································································································ 2 二、研究重點 ·········································································································································· 3 （一）釐清創作的理 ··························································································································· 3 （二）探索繪畫的心 ··························································································································· 3 （三）物我兩造的覺 ··························································································································· 3 第三節研究必要與預期成果 ·········································································································· .4 一、研究的必要性 ································································································································ 4 （一）探討藝術與形而 ······················································································································ 4 （二）分析繪畫的光與色 ················································································································· 5 二、預期的成果 ····································································································································· 6 （一）釐清創作理 ································································································································ 6 （二）繪畫創作與整合心靈 ············································································································ 6 （三）探索未知的自己 ······················································································································ 6 第四節研究方法與架構 ····················································································································· 7 一、研究方法 ·········································································································································· 7 （一）寫生 ··············································································································································· 7 （二）資料蒐集 ······································································································································ 7 （三）文獻探討 ······································································································································ 7 二、研究架構 ········································································································································· 11 第二章創作方法與分析 ·········································································································· 13 iii.

(5) 第一節作品形式與內容 ···················································································································· 13 一、變與不變 ········································································································································· 13 二、瞬間的美感 ···································································································································· 15 三、少即是多的白色發現 ················································································································ 16 （一）色彩的分析 ······························································································································· 16 （二）白色的文化意涵與筆者心靈體會 ·················································································· 16 （三）白色是無限的色彩(細緻的閲讀)色料的混色 ··························································· 16 四、花卉中的人物畫 ·························································································································· 17 五、題材不變，改變創作媒材 ······································································································ 18 第二節資料收集與寫生 ···················································································································· 19 一、靜物的資料收集 ·························································································································· 19 （一）牡丹花的資料收集 ················································································································ 20 （二）牡丹花實物觀察 ····················································································································· 21 二、資料收集的手段與方法 ··········································································································· 24 （一）光線分析分析軟體 App 的應用 ······················································································ 24 （二）現場寫生的靈感收集 ··········································································································· 25 （三）錄影攝影與手稿的彙整 ······································································································ 26 第三節創作技巧與方法 ···················································································································· 27 一、間接技法 ········································································································································· 28 二、直接技法與綜合運用 ················································································································ 29 第四節轉角遇見美 ······························································································································ 32 第三章創作理念與思想········································································································· 34 第一節心如明鏡台 ······························································································································ 34 第二節繪畫的心靈旅程 ···················································································································· 37 第三節創作中的意念與精神探索 ······························································································ 40 第四節創作中腦與心靈之眼探究 ······························································································ 44 第四章作品分析與探討 ·········································································································· 46 第一節「靜觀自得」系列 ··············································································································· 46 （一）作品一〈富貴顯榮〉 ·········································································································· 48 （二）作品二〈悠然雅緻〉 ·········································································································· 49 iv.