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中國幻境之美—李寶春創作論述

The Beauty of Chinese Illusion The Study of Watercolor Painting by Li Bao-Chung

作者:李寶春
畢業學校:國立屏東教育大學
出版單位:國立屏東教育大學
核准日期:2012-08-27
類型:Electronic Thesis or Dissertation
權限:Copyright information available at source archive--npue....

中文摘要

本論文的創作研究旨趣為探討中國幻境之美,並將其「氣」、「韻」、「象」、「境」實踐於研究者的創作系列之中;透過此創作研究的歷程,結合西方創作媒材,深化中國文化的美學思潮,跳脫普遍性的構圖形式,呈現豐富的中國古典符號、情境與趣味;本創作論述研究目的可歸納如下:
一、藉由分析中國歷代的文人思潮,探討中國古典的美學觀。
二、透過水彩創作,從中國詩詞延伸的意境與意涵,展現文圖一體結構形式。
三、從中國畫中常見的意象圖案,轉化為筆者自我繪畫的符號語彙。
四、從中國畫風的名家之作,擷取其創作精華之處,期能使繪畫嶄新呈現,開創繪畫新視野。
而此系列研究發現,水彩創作不應停留於有限、孤立的「物境」與「情境」,突破有限進展於無限,體現整體生命圓滿意境,便是「氣韻生動」;因此,若能從法則中求得自由,而順己創作,便是「化」之境界。此研究文獻以有形或抽象分析說明中國淵遠流長的美學觀點,欣賞歷史傳承形成的美感與涵意,進一步打破固有的形象框架,中國幻境之美的意象在系列作品(一)幻屏山水(二)案頭奇壑共16件作品,處處顯而易見,觀賞者必須用心體會。

英文摘要

The objective of this research is to explore the beauty of Chinese illusion. By practicing momentum rhyme scene and realm in the creation series of Li bao
chung . Through the course of research, the author also tried to combine western creative material to expand aesthetic thought of Chinese culture. By thinking out of a general composition style , displaying the old-fashioned form of painting composition, showing of Chinese classical symbol situation and interest. The goals of the research are generalized as follows
1. The research is to observe Chinese classical aesthetic perspective by analyzing Chinese Cultural trends of thought.
2. According to artistic conception of Chinese classical literature,to
present the combination of picture and words by watercolor.
3. According to imagery pattern of Chinese classical panting, to convert the whole new symbols of author s artistic creation.
4.Refining the essence of Chinese paintings, to present the new vision of author s creation series.
This series of research found that the realm of watercolor creation should extend to endless, not be confined by scant materials or isolated situation. If an artistic creation reflects the consummate realm of life, it is the incarnation of vivid spirit and charm . When an Artist obtains freedom from Painting rules, and establishes originality, that is the highest state of diversification. I attempt to enrich the content with analysis as well as explanation of Chinese aesthetic viewpoints, which evolved from concrete and metaphysical images. By doing so, instead of simply appreciating its sublime beauty in the context of historical changes, I hope to challenge the fixed form traditionally associated with the idea of art, break the rigid boundary between traditional painting and the general impression of Chinese art. In my opinion, the beauty of Chinese illusion could be ubiquitous and simple to perceive on author s creation series (1) Imaginary Landscape and (2) Unreal Gully of Desk, a total of 16 works. All we have to do is to see it with our hearts and souls.


委員 - 黃冬富

指導教授 - 劉立敏

主席 - 吳奕芳


 

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