| 摘要: | 本論文針對西洋繪畫史發展歷程中，提出中世紀時期至二十世紀初具象式繪畫形式，研究其「輪廓線」的表現方式，分別用以「虛實」技法時，所得之畫面效果為何?作為探討。並配合作者創作過程中個人所親身體驗，希望透過本論文研究方向，呼應實際所得之關係。最終目的是想透過此研究，樹立個人繪畫風格與創作發展方向。本論文以共五章節內容來論述研究結果：第一章節中，提出研究與創作動機、範圍與方法，表述個人創作過程與「輪廓線」虛實表現技法之間實際面臨的驗證。第二章節中，彙整點、線、面、色、光源作用與輪廓線虛實表現關係。探討視覺受點、線、面、色與光源作用先決地制約，產生既定的印象，如何透過輪廓線的虛實技法表現的差異性，最終利用繪畫性給予觀賞者具象物體質感的領受。第三章節裡分析比較：西洋繪畫史裡，以「線條」與「色塊」為主要表現「輪廓線」技法的畫家，其呈現之繪畫內容與形式，並彙整其風格、創作理念，說明比較其差異性。第四章節裡，闡述個人創作理念與呈現作品供做賞析。第五章的結論：提出說明對藝術領域的自身創作的歷程，經由本論文之研究所得，期盼對將來繪畫創作的技法與觀念，有實質的提升效益。
This thesis would focus on the development process of western painting history and put forward the form figurative painting from the times of the Middle Ages to early 20th century to study the ways of expression for “contour linear.” It has respectively employed the skill of “Falsehood vs Reality” in order to see what would be the effect of image for investigation. In coping with the personal experience of the author during the process of creation, it is hoped to make use of the research approach of this thesis to act in concert with the relationship actually obtained. And the ultimate objective is to carry out investigation through this research to establish painting style and approach of creation development of the individual. This thesis is, in total, found in five chapters to elaborate its research results. Of the first chapter, it has put forth the research and creation motive, scope, and methodology, rendering verification in between of the elaboration on the creation process of individual against “Falsehood vs Reality” expression techniques.In the second chapter, it has compiled the functions of nod, line, plane, color, and light source to the falsehood vs reality expression relationship of contour linear. Then, it would investigate how vision can be preliminarily constrained by the function of nod, line, plane, color, and light source, and then create programmed image. In addition, how the difference of falsehood vs reality expression techniques of contour linear can ultimately painting-ness to render the qualitative appreciation of viewers for figurative object.In the third chapter, it would conduct analysis and comparison: in western painting history, it is to investigate what is the content and manner demonstrated by painters using “line” and “color field” for primary expression of “contour linear;” besides, their style and creation belief are organized to delineate and correlate their difference. In the fourth chapter, it is to expound the creation belief of individual and display their works for appreciation. As for conclusions at the fifth chapter, it is to propose the process of personal creation on the domain of arts, and it is hoped that, from the study results from this thesis, to proffer with effect of substantial enhancement regarding skills and concept on creation for painting. |
