| 摘要: | 中國繪畫乃是人類抒發情思，表達詩情畫意的符號，體現美學的方式之一，因而筆者愛上山水畫更愛寫繪大山大水，本文藉由文獻，探討中國畫學、書畫專刊、文物與賞析先人之作：取中國畫之精髓於傳統墨彩與新媒材的相容共構發展及研學新技法與開創新畫風為脈絡，研創水墨跨域複合丙烯-壓克力彩當代水畫風格。在創作過程以西潤中，以增強新作之獨特性，皆呈現出最佳的畫面效果。創作手法概括西方的寫生概念，觀物取象及歸納、整、融合與取捨、解構再簡約化等多方運用創作畫面之效果。
因此，本研究山水畫作品經由東、西方美學，取於傳統共構當代，結合西方技法，運用新多元繪技法融合以丙烯-壓克力彩、礦岩、水干、國畫顏料與墨彩，甚至運用經驗法則，建構表現出不同於傳統山水畫系列之畫面效果，點繪推疊層加法筆者以實驗方式，讓觀者賞心悅目與滿足視覺的現代立體國畫藝術饗宴。
藝術美感與創作養分皆由心、眼同觀經過思維、立意、靈動、取捨、整合，從美與善出發，皆是寫繪創作之元素，也是筆者以山水畫，來淨化人心的核心動力來源。相對自己的賞析判斷力與藝術文化素養及專業質感也提升受益良多。
Chinese painting serves as a symbolic medium for expressing human emotions and poetic sentiments, a way to embody aesthetics. Therefore, the author fell in love with landscape painting, particularly the depiction of majestic mountains and flowing rivers. This thesis explores relevant literature, delves into Chinese painting theory, specialized journals on calligraphy and painting, and examines cultural relics, while also providing a comprehensive appreciation and analysis of ancestral works. By embracing the essence of Chinese painting, the author establishes a harmonious co-development of traditional ink techniques and new media, studying novel methods and creating a fresh painting style. In this context, the author studies and creates a new painting style crossing the disciplinary ink paintings and acrylic colors. During the creative process, the author appropriates Western Painting skills into Chinese painting to enhance the uniqueness of the new artwork, leveraging the strengths of both techniques to achieve optimal picture effects. This creative approach includes Western sketching principles, drawing inspiration from observation, and employs various
methods such as induction, integration, fusion, trade-offs, deconstruction,
and simplification, etc., to create picture effects.
Therefore, the landscape painting works of this study leverage Eastern and Western aesthetics, based on tradition while embracing contemporary elements, and incorporating Western techniques, using new multi-painting techniques to fuse acrylic colors, mineral rocks, Doro-enogu, Chinese painting pigments and ink colors, and even using rules of thumb to construct a picture effect that is different from the traditional landscape painting series. The author used experimental methods, Pointillist layering addition, to make the audience pleasing to the eyes and satisfy the visual art feast.
Both artistic beauty and creative nourishment are derived from the mind and the eyes, engaging in processes of thinking, conceptualization, inspiration, trade-offs, and integration. They originate from the beauty and kindness that constitute the essence of artistic creation, serving as a fundamental motivation for the author to purify people's hearts through landscape painting. The author also benefits from the enhancement of the ability to appreciate and judge, as well as artistic, cultural, and professional competence. |
