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研究生:張秋停
研究生(外文):Chiu-Ting Chang
論文名稱:彩墨畫新探─西方古典技法引用之探索
論文名稱(外文):The New Explore of Chinese Color Painting-Explore of The Western Antique Technician
指導教授:劉素真劉素真引用關係
學位類別:碩士
校院名稱:國立臺灣藝術大學
系所名稱:造形藝術研究所
學門:藝術學門
學類:視覺藝術學類
論文種類:學術論文
論文出版年:2006
畢業學年度:95
語文別:中文
論文頁數:95
中文關鍵詞:凡艾克古典技法寫實彩墨畫
外文關鍵詞:Eyck Jan VanClassic painting styleRealisticColored Chinese Painting
相關次數:
  • 被引用被引用:3
  • 點閱點閱:539
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  • 下載下載:101
  • 收藏至我的研究室書目清單書目收藏:3
中、西繪畫各有其獨特的形式與風格。然藝術無國界,隨著東、西文化的交流,使彩墨畫的發展趨向多元化而產生更多的新形式與多樣式的風格。藝術的創作無論是中、西融合或引西潤中,乃須有個人獨特的風貌,因為繪畫是個人思想意識及人生的反映,它表達作者一定的思想感情,除了具時代性,又要有個性。
本創作追求寫實、細密的古典畫風,引用西方凡艾克(Eyck Jan Van)多層次畫法,跨越東西方媒材的限制,以靜物畫的表現形式,結合寫生與造境,寫實與寫意,呈現出個人獨特的繪畫風貌。本論文研究分為六章十五節,茲將各章節重點以架構分述之:
第一章「緒論」,說明本論文研究的動機與目的、研究的重點與方法,以及研究的範圍和限制。
第二章「凡艾克古典技法淺析」,敘述西方古典大師凡艾克如何改良研發繪畫材料及創造出多層次畫法。從分析其原作《阿儂芬尼的婚禮》(The Aronlfini Marriage),去領悟隱藏在畫面精湛技巧背後的製作過程,是如何的講究與一絲不苟。並以個人學習多層次畫法的油彩靜物畫製作程序從木板基底製作、透稿、定稿到塑造形體以至最後的深入刻畫,按照步驟,以圖文對照方式,詳細說明。
第三章「彩墨畫之可能性探討」,論述現代彩墨畫歷史背景的演進,並以前人學理畫論為依據,分析彩墨畫技法─立意取材、構圖要素、造形特點、色彩賦染等,除了以中國傳統水墨畫的規範為基礎外,更跨越東、西方媒材的限制,包容任何形式與技法,以創作出個人獨特的繪畫風貌。並以個人作品「溫馨照影」之創作過程從立意、鉛筆素描稿、形體塑造至意境的營造,以圖文對照方式,詳加分析。
第四章「創作理念之建構」,針對東、西方之寫實與寫意創作觀作比較及兩者結合可能性之探討。強調物體的質感、體感、量感和空間感的表現,特別於光影效果及個人對中、西方寫實性技法的融合、運用作一系的分析與探討。
第五章「創作理念的實踐與作品分析」,以十六件作品依題材性質大致歸類為(一)源於民藝的創作元素;作品有紅妝、逸趣禪心、歲月風華、拙雅之趣、繡線傳情及思古悠情。(二)自然人文與生活的取材;作品有溫馨照影、丰姿、綽約、古韻及居家小景。(三)生命的嘔頌與四時的節序;作品有黃金歲月、柿子紅了、生息、耄耋長壽及五月遐思。以上作品論述項目包括作品內容形式、創作理念及方法技巧等,逐一的分析和探討。
第六章「結論」,總結本文論述,說明現代彩墨畫多元的面貌應有個人獨特的風格,而風格的形成又與個性有關,並體認繪畫是個人情思心境的表現,寫實技法的運用是一種手段,是外在的,古典意境的營造才是實質內涵的。藝術之路須靠自己努力一步一腳印踏實的走出來,並對未來創作做一番省思與展望。
Chinese painting and western painting each have their own unique pattern and style. However, art has no boundary. With the interaction between Eastern and Western culture, the colored Chinese Painting is developing towards diversification that creates more fresh and diversified fashion. Artistic creation should have its individual style and features whether it is a blend of the Chinese and the Western or a Chinese pattern with some Western polish. Because painting expresses personal thoughts and reflection of life, it represents the certain thinking and emotion of its creator. Therefore, not only must it be contemporary, but it also has to have its individual characteristics.
My creation seeks the realistic and detailed classic painting style. It uses the multi-level method of Mr. Eyck Jan Van in the West, crossing over the limitations of both Eastern and Western medias and materials. In the form of still-life Painting, I combined natural settings and man-made settings, realistic painting and free-stroke painting to present my personal unique style and features. The thesis consists of six chapters and 15 sections, briefs of which are as follows:
Chapter 1 “Introduction” explains the motive, purpose, emphasis, methods, range and limitations of the research.
Chapter 2”Brief analysis of Eyck Jan Van’s classic technique” states how the classic master improved and developed the painting materials and created the multi-level painting technique. From analyzing his original “The Arnolfini Marriage”, I comprehended the particularity and preciseness of the process hidden behind the exquisite technique of this painting. And step by step, with description and illustration, I explained in detail from the making of the board base, initial draft, fixed draft, molding to the final profound painting based on my personal learning process of the multi-leveled oil still-life painting.
Chapter 3”The Exploration of the possibilities of colored Chinese Painting” describes the evolution of the historical background of modern colored Chinese Painting and analyzes its techniques such as conception, sources of materials, key elements of composition, characteristics of sculpt, coloring and etc. based on the theories used by predecessors. In order to create my unique style, I used the rules of Chinese ink paintings as basis, crossed over the limitations of both Eastern and Western media and materials and made allowance for any patterns and techniques. With my painting ”Shadows of Kindness”, I fully described the process from conception, pencil sketches, molding to the cultivation of atmosphere with words as well as illustrations.
Chapter4”Construction of creative concepts” compares the creative concepts of realistic painting and free stroke painting between the East and the West and explores the possibility of their unity. I laid the emphasis on the presentation of texture, solidity, strength and dimension of objects and especially on the effect of lights and shadows. And I made a series of analysis and exploration of the blend and appliance of Chinese and Western techniques of realistic paintings.
Chapter 5”Realization of creative concepts and Analysis of My Paintings” categorizes my 16 paintings into three items according to the themes. The first one is categorized as folk arts which includes “The Wedding”, “Abdicate in my mind”, “The Years When the years gone by”,” Delightful of the pottery”” The joy of Embroidery” and“muse over of the culture”. The second item comes from nature and every day life which consists of ” The pillow on the chair” Sun flowers”, ” Graceful” “Antiquity”and “My adornments” The last one praises life and the seasons which includes “Golden age” “Persimmon” “Multiply” “The longevity fruit” “In May”. The formation, the creative concept and techniques of all the above paintings are analyzed and explored individually.
Chapter 6”Conclusion” explains the diversification of modern colored Chinese Painting and the necessity of personal unique style that is closely connected to individual
personality. Painting is an expression of personal emotion, and the realistic technique used is only a method that appears on the outside. The cultivation of the classic atmosphere comes really from the inside. The road to art depends on a firm foundation made of solid steps. I’ll review my work and have great expectations for my creation in the future.
第一章 緒論 1
第一節 研究動機與目的 2
第二節 研究重點與方法 6
第三節 研究範圍與限制 8
第二章 凡艾克(EYCK,JAN VAN)古典技法淺析 9
第一節 古典技法歷史背景 9
第二節 凡艾克多層次畫法 11
第三節 多層次畫法的製作流程 16
第四節 木板與絹之共通性 20
第三章 彩墨畫之可能性探討 23
第一節 彩墨畫的歷史背景 23
第二節 彩墨畫技法分析 26
第三節 彩墨畫創作過程 35
第四章 創作理念之建構 38
第一節 東、西方創作觀比較 38
第二節 東、西方寫實性技法比較 44
第五章 創作理念的實踐與作品分析 48
第一節 源於民藝的創作元素 49
第二節 自然人文與生活的取材 61
第三節 生命的嘔頌與四時節序 71
第六章 結論 81
參考作品 83
參考書目 95
1.蘇峰男〈中國繪畫寫生創作的法要析辨〉,《造形藝術學刊》,國立臺灣藝術大學,2002。
2.林進忠《千秋遐想筆墨情 中國繪畫創作研究》,林進忠畫集(五)。
3.劉素真〈殖民地時代圖畫教育「官展」〉《造形藝術學刊》,國立臺灣藝術大學,2002年12月。

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1.劉曦林著(徐悲鴻),《中國巨匠美術週刊》,錦繡出版,1994年11月26日出版,113期。
2.Giuliana Zuccoli Bellantoni總編輯,(范艾克),《巨匠美術週刊》,錦繡出版,1993年2月20日出版,37期。
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