臺灣博碩士論文加值系統

本論文題目《裝飾性風格的動物圖像》形容的則是好像這也是一種需求，每一個時代，都需有他自己對空間的認識，特別是在於筆者情感的空間。
材質創造這些從自然界所發現的元素，再由筆者的意念來創作材質，顏色能替筆者傳遞出每件事物的本質。同時又能回應出筆者因受人事物的刺激而引發出來的強烈情感。
尤其是顏色，也許更可以說是素描，是一種解放。而這些古代的方法，又可以被新一代的東西所取代。就像素描和顏色一樣，它們都是一種表現的方法。
但表現的方法也會被調整。新的技巧表現總是奇怪，因為他們的關係與上一代藝術家所感興趣的東西是不一樣的。終究顏色是奢侈的、需要的。
筆者常將自己完全的融入畫中，並且很清楚的知道；在自己天馬行空釋放情感的創作裡，為了能讓觀賞者更清楚的了解；筆者在畫面中並不想困難的去取得統一的完整性。筆者只是想要表達出自己內在深處的情感，對於藝術家，困難的事，是常常不清楚，自己情感的特質和其遠離情感的原因，更不應該是以理性來駕馭畫面。
在筆者創作具象不寫實的裝飾性風格的動物圖像而言，有了前後呼應的的一種脈絡相承的創作理念，可再進行更深入的創作研究與探討筆者作品中形式、風格與技法，用眾生平等的觀念，將動物擬人化，以期能讓觀賞者用善良的心來對待這個世界，令其變得美好與安全。能給大自然的萬物一個生存權，去珍惜與善待造物主賜給我們的這一切。
在筆者的創作中，是以動物為主題。對筆者而言可以說是用藝術來模仿自然界的各種動物的形象，筆者一直認為：一位藝術者的工作，要可以看見生命的特性與藝術品能做一個對照，於是藝術作品也會像自然界的生物一樣，顯示出藝術家在創作裡的豐富多元，並同樣也能激發出這份內在的才華，同時又能如自然界的生物一樣，能展現出他那份美麗耀眼的作品，而能去接近真實的力量，在筆者的創作裡面，都是以動物之間那份深刻的「愛」，來展現出筆者含蓄內斂的情感表現。但是在內心深處對於情感的力量，骨子裡是有很強大的感受，這份專情而熱烈的力量，在作品中總能隱約嗅出一股華麗的悲傷。
筆者認為一個藝術家是需要有一個比較強大的愛心，並且還要能有能力去吸收和持續這一股力量，能注入在藝術作品的創作上。
而所有的藝術作品的創作源頭，也是含在這份整體的勇氣和這一整個的深入分析，但是，所有的創作，難道不是都是因爲「愛」而來的嗎？
用愛去持守住創作中的靈魂表現，總是耐人尋味。

關鍵字：野獸派、動物圖像、裝飾性風格、原生藝術

The topic of this paper, "Decorative Animal Images," is as if this is also a requirement. Each and every era needs his own understanding of space, especially the author's emotional space.
Material to create these elements found in nature, and then by the author's ideas to create materials, colors can be for the author to convey the essence of everything. At the same time, it can also respond to the author's strong emotion triggered by the stimulation of human and occasion’s interactions.
Especially the color, perhaps more sketch, is a kind of liberation.
And these ancient methods can be replaced by a new generation of things. Just like sketches and colors, they are all the ways to express works.
The performance of new skills is always weird because their interpretation is not the same as what the previous generation of artists were interested in. After all, the color is extravagant, needed.
She often fully integrated into the painting, and she knew very clearly; in her own creative liberation of emotions, to allow audiences to understand more; she does not want her work to achieve a unified integrity. The author just wants to express her inner feelings. To artist, the character of her emotion and the reason that being alienation are usually a difficult thing for her. Thus, for he creations should not be controlled by rules.
In the author's creation of animal images with figurative and unrealistic decorative style, there is a original idea that echoes one after another, which can be further researched and discussed in the form, style and technique of the author's works. With the idea of equality of all living beings, the animals will be humanized with a view to enabling viewers to treat the world with good hearts and make them beautiful and safe. She wishes her works inspire people to treasure all animal with equality and dignity.
In the author's creation, the animal is the theme. She wishes to use art to imitate the images of various animals in nature. She has always believed that the work of an artist can identify the characteristics of life and meanwhile it can be compared with those of art, so that works of art are like the nature can portray the richness of an artist’s creation and inspired artists to create. At the same time, like the creatures in nature, through her beautiful and dazzling works, the artist can approach the real power and represent author's subtle and introverted emotional expression based on the profound "love" on animals. However, in the heart of her world, there is a very strong feeling about the power of emotion. This passionate force always illustrate grief in her works.
The author believes that an artist needs to have a relatively strong love, but also have the ability to absorb and sustain this force, can be infused into the creation of works of art.
And all the creative works of art are also the source of the overall courage and the whole in-depth analysis. However, do not all of them come from "love"?
It is always intriguing to keep the soul performance in creation with love.

目 錄
謝 誌 I
摘要 III
ABSTRACT V
第一章 緒論 1
第一節 創作動機 1
第二節 創作目的 2
第三節 創作方向 5
第二章 動物與皮草 9
第一節 以Julien Salaud的作品來研究 9
第二節 人與動物關係的省思 12
第三章 插畫繪本的裝飾風格 16
第一節 作品與插畫繪本裝飾風格的關聯 16
第二節 杜布菲原生藝術中的插畫因子 27
第四章 以動物為題的繪畫創作 35
第一節 貓 35
第二節 鹿 54
第五章 作品分析 61
第一節 創作背景 61
第二節 謝伊琪作品圖錄與說明 65
第三節 繪本出版與展覽 86
第六章 結論 . 97
參考書目 100

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