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研究生:林信維
研究生(外文):LIN, HSIN-WEI
論文名稱:理性與感性的融合-林信維創作論述
論文名稱(外文):The Harmony of Sense and Sensibility-The Statement of Creations By Hsin Wei Lin.
指導教授:林文海林文海引用關係
口試委員:陳明輝林文海王怡然
口試日期:2021-05-21
學位類別:碩士
校院名稱:東海大學
系所名稱:美術學系
學門:藝術學門
學類:美術學類
論文種類:學術論文
論文出版年:2021
畢業學年度:109
語文別:中文
論文頁數:60
中文關鍵詞:理性與感性的融合
外文關鍵詞:The Harmony of Sense and Sensibility
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不論寫實、具象、意象、乃至於抽象,繪畫都須有深厚的美學基礎。各種繪畫主義的創起和演變是受到新時代的影響和刺激。工業革命的興起對人類的期許充滿了樂觀的展望。十九世紀後美術也出現改革與批判,欣賞美的角度不再是唯一用自然主義去詮釋,而是為藝術而藝術的自主性藝術展現。現代主義興起與資本主義充分發展,虛擬與實質相互衝擊,創造取代了滿足,成為當時的經濟、文化、和社會現象,意即藝術活化了固有思維,自由創作活絡了藝術領域,成為現代主義的先驅。

現代藝術正如巨浪般而來,翻滾著藝術場,攪動這池平靜的春水,改變了人們的思維和觀感。隨著這巨浪一浪一浪的往前推,原來執著於原地的我已被巨浪推上岸,不自覺地醒來,方知藝術是多元性的,它包含著各式創意的作品。抽象畫正如日中天的逆行而來,藝術的潮水衝擊我身體的溫度,思緒漸漸清晰,是該雙手迎接抽象畫並融入的時候。為了改變風格讓人耳目一新,我必須從抽象主義找尋蜘絲馬跡,研究如何轉型。

論述分為五段章節第一章各種繪畫主義的興起和轉變是受到新時代的影響和刺激而改變。第二章學理基礎西洋現代繪畫史的演變是有跡可尋,從具體形象到平面簡單化延伸至變形,進化抽離形象,提醒了在理性畫派中的我,需要接收更多元的表現形式。第三章創作理念接受新的畫派,從理性思考變成感性的自主性創作,第四章作品的闡述,畫面視覺直接感知,也可以敘述創作來源,所反映的內在議題和思維,不用特別去解釋技巧。第五章結論抽象畫的深度無遠弗屆,在創作期間不再拘泥傳統的觀念,用創新的藝術形式表達繪畫理念,讓自己在新藝術領域裡,重新深入探討改造創造出新的意境,走出屬於自己的大道。

Whether it is realism, concreteness, imagery, or even abstraction, painting must have a deep aesthetic foundation. The creation and evolution of various painting philosophies are influenced and stimulated by the new era. The rise of the industrial revolution is full of optimistic prospects for human expectations. After the nineteenth century, fine arts have also undergone reforms and criticism. The perspective of appreciating beauty is no longer the only interpretation with naturalism, but the autonomous artistic display of art for the sake of art. With the rise of modernism and the full development of capitalism, virtual art and real art interacted with each other. Creation replaced satisfaction and became an economic, cultural, and social phenomenon at the time, which means that art activates inherent thinking, free creation activates the field of art, and becomes the pioneer of modernism.

Modern art comes like a huge wave, rolling the art field, stirring the calm spring water, and changing people's thinking and perception. As this huge wave pushes forward one after another, I, who was originally obsessed with the place, have been pushed ashore by the huge wave and woke up unconsciously, knowing that art is pluralistic, and it contains all kinds of creative works. Modern paintings are coming retrograde in the midst of the day. The tide of art hits the temperature of my body, and my thoughts gradually become clear. It is the time for my both hands to welcome modern paintings and blend in. In order to change the style to be refreshing, I have to look for signs of abstraction and study how to transform.

Discourse includes five chapters. First, changed by the influence and stimulus of the new era, the rise and transformation of art movement. Second, theoretical foundation. The transformation of western painting history is traceable. From concrete image to simplification of plane and extending to deformation and then to evolution of withdrawing image, which all reminds rationalism me that I need to accept diverse forms of expression. Third, concept of creation accepts new painting styles. From rational thinking to emotional active creation. Forth, elaboration of creation. The visual perception of the picture can directly perceive, and it can also describe the source of creation. The internal issues and thinking reflected, are without special explanation of skills. Fifth, concluding there is no boundaries to the depth of abstract painting. During creation period, no longer stick to traditional concepts, but use innovative form of art to express painting concepts instead. Make myself in new field to re-probe how to transform and create new artistic concepts then find my own path in art.
誌謝..I
摘要..II
Abstract..III
目錄..V
圖目次..VI
第一章 緒論..1
第一節 研究動機..2
第二節 研究目的..3
第三節 研究方法..4
第二章 文獻探討..6
第一節 印象派..6
第二節 那比畫派..8
第三節 抽象畫派..9
第三章 創作理念..10
第一節 創作歷程..10
第二節 創作表現..14
第三節 創作主題構想..21
第四節 色彩的轉換..23
第四章 作品分析..26
第五章 結論..58
參考文獻..60


Kandinsky (1985)。《藝術的精神性》(吳瑪悧譯)。台北市:藝術家出版社。(原著出版年1985)。
潘東波 (2002)《20世紀美術全覽》。台北縣:相對論出版社。
丁 寧 (2007)《西方美術史的15堂課》。台北市:五南圖書出版社。
邵大箴 (2002)《西方美術欣賞》。台北市:五南圖書出版社。
霍斯特・伍德瑪・江森Horst Woldemar Jason (1989)《美術之旅》(唐文娉譯)。台北市:桂冠圖書出版社。
張心龍(1999)《西洋美術史之旅》。台北市:雄獅圖書出版社。

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