| 摘要: | 山水畫， 習稱山水，是描寫山川自然景色為題材的科目。魏晉以前山水景觀僅為人物畫之陪襯或附屬。南朝 宋．宗炳《畫山水序》：
「聖人含道映物，賢者澄懷味象。至於山水，質有而靈趣。」一語，是最早標舉出了山水描繪的獨立價值。亦即畫家在景中生情，因物起興交融互滲中，藉彩筆表現出宇宙觀、人生觀、生命哲理，而比近於聖、賢的創作過程。是以中國繪畫史的發展歷程，畫分十三科，而山水畫居首，除因山水畫涉獵的內容較為廣博，更重要的是因為山水畫旨趣皆在表現人的精神哲思。
山水畫在隋與初唐時期多用色彩表現， 史載到了王維才創水墨山水， 直至五代、北宋之際，山水畫方有突破性發展，諸多畫師從寫生出發，一方面創造出多樣性山石的肌理皴法、一方面則以心靈體悟山水氣象，藴釀出宏大空濶的意境，正如張璪所說：「外師造化，中得心源。」由於歷代畫師們的努力，使山水畫提升到極高的境界。而傳世的名畫至今仍令人讚賞不已。
本論文以《含道．澄懷– 周仁祥山水畫創作論述》為題。試圖延貫形而上的道與形而下的實務創作。昔人多認為良辰、美景、賞心、樂事四者難並，然藝術家將其消融之、體悟之，藉彩筆蒐羅天地間的自然美景，來刻畫各種美感，並呈現天下的良辰美景、賞心樂事並聚，使心情舒暢，進入一種無言無聲狀態，以此論證中國山水畫以畫體道、以畫悟道的獨特創作模式。
本論文共分五章，第一章緒論，敘明研究動機與研究目的， 研究方法與架構，研究範圍與釋名。第二章敘述傳統山水畫的美學思想，內容含括臨古與意境的轉化、造化與心源的對應、詩情與畫意的結合。第三章析論傳統山水畫的形式特質，內容含括書法性線條的應用、地域條件的差異性、設色與水墨的轉進。第四章論述藉古開今的寫生體悟與創作，內容含括創作思維，留白、虛實、形氣、變異的體會，與創造作品的解析。第五章結論，包括研究心得和未來期許。
Landscape painting depicts nature through art. Prior to the Wei and Jin dynasties, landscape is only a supplement of figure painting. In Southern Dynasty-Sung, Zong Bing stated in his essay, “Preface on Landscape Painting”, that “Dao is immersed internally in the sage, which is then reflected externally; the wise then embrace s the external state reflected from Dao. As for landscape, Dao shall be found from its materialistic existence.” This is the earliest mentioning of the individual value of Chinese landscape painting. In other words, the artist expresses emotions through landscape painting. Through the paintbrush, one will see the creative process of the artist ’s philosophy of the world and life, which is similar to that of what is experienced by the sage or the wise. Therefore, in Chinese art history development, painting is divided into 13 categories and topped by landscape painting. This is not only due landscape painting’s broader inclusion, but also because of its expression of spirituality.
Landscape painting during the Sui and early Tang dynasty was mostly done through colors. It was not until Wang Wei that “splashed ink painting” was introduced. Landscape painting underwent breakthrough developments in the Five Dynasties and Northern Sung Dynasty. Artists would begin their work from sketching, which would create di versified textures and techniques of painting mountains and rocks; at the same time, the spirituality experienced by artists are further reflected in their
work, creating a magnificent and sublime artistic conception. As Zhang Zao stated, “internal spirituality is gained through external expression.” Through the efforts of artists, landscape painting reached new heights,
resulting in the creation of phenomenal paintings admired by generations.
The topic of this thesis is “Daoist State, Meditative Mind - The Chinese Landscape Paintings of Chou Jen-Hsiang”. This thesis aims to connect artistic work with the philosophy of Dao. In the past, it was often thought to be difficult to integrate external scenic beauty with inner joy, yet by feeling and understanding nature, the artist combines externality with internality through the strokes of the paintbrush, thereby entering a soundless and speechless state, henceforth evidencing the creative method of understanding and realizing Dao through art in Chinese landscape painting.
This thesis consists of five chapters. Chapter one explains research motivation, purpose, method, structure, scope and term definitions. Chapter two discusses the aesthetic philosophy of traditional Chinese landscape painting, which includes the transformation of past work imitation and artistic conception; the association of external landscape with internal mind; and the combination of poetic and artistic beauty. Chapter three is an analysis of traditional Chinese landscape painting features, including the application of calligraphic strokes and lines, geographical differences and progression of color and ink. Chapter four
discusses past and present creations and insights in art sketching, including creative mindset, conception of different painting methods and techniques, and analysis of various pieces of art. The thesis concludes with chapter five, which summarizes past creation, development potential, and future direction. |
