| 摘要: | 拓印畫法其實由來已久，然而長期在文人畫強調的「用筆」、「用墨」觀念下逐漸式微，上世紀中期受西方抽象繪畫的影響，水墨畫日益見到使用拓印技法的作品。
拓印水墨表現技法與材料的關係非常密切，因此本創作論文除了主題在研究水墨畫的拓印技法之外，並針對技法與材料相互的關係進行探討。期望在熟悉媒材與水墨呈現的關係之後，再運用拓印技法結合手繪，創作出具有當代特質「非筆性」的水墨作品。
本創作研究論文力求結構嚴謹，論述清晰，據此建構的研究框架為：
第一章緒論，包括研究動機、目的與研究方法，並對論文中重要且關鍵的詞語給予學術的解說，以建立清晰的定義，使論述具有邏輯性。
第二章主要針對拓印水墨畫的發展脈絡進行歷史性的爬梳，內容有：拓印畫的類別與溯源、拓印技法與當代水墨，以及拓印水墨畫的美學內涵。
第三章對於拓印水墨畫的媒材與技法展開學理與實務的探討：有關水墨畫常用墨與紙的製作，傳統製墨的種類與特性。並透過實驗了解紙張與拓印效果之對應關係。
第四章為依據本論文主題的學理探究之後所做的具體實踐，分成兩部分：一是創作理念的統整。另一是運用拓印技法進行水墨創作，藉以達到理論與創作結合的研究成果。
第五章為結論，包括此次創作研究的自我知識成長心得，以及在此基礎上進一步延伸、開拓，成為日後創作研究的藝術底蘊。
As the times progress, artistic thinking is constantly changing, and ink painting is seeking contemporary characteristics while advancing its expressive techniques. Contemporary ink painting not only innovates in concept, but also seeks breakthroughs in form. Among them, the rubbing technique is one of the creative techniques with a sense of the times, creating many new forms.
The rubbing painting method has a long history, but it gradually declined under the concept of "using brush" and "using ink" emphasized by literati painting. In the mid-20th century, influenced by Western abstract painting, ink painting increasingly saw works using rubbing techniques.
The relationship between the rubbing ink painting technique and the material is very close. Therefore, in addition to the theme of this creative thesis, which is to study the rubbing technique of ink painting, it also discusses the relationship between technique and material. It is expected that after familiarizing with the relationship between media and ink presentation, the rubbing technique will be combined with hand-painting to create ink works with contemporary characteristics of "non–brushiness".
This creative research thesis strives to be rigorous in structure, clear in argumentation, and construct a research framework as follows:
Chapter 1 Introduction, including research motivation, purpose and method, and giving academic explanations to important and key words in the thesis, and establishing clear definitions to make the argumentation logical.
Chapter 2 mainly traces the historical development of rubbing ink painting. including: the categories and origins of rubbing painting, rubbing technique and contemporary ink painting, and the aesthetic connotation of rubbing ink painting.
Chapter 3 discusses the theory and practice of rubbing ink painting materials and techniques: related to the production of commonly used ink and paper in ink painting, types and characteristics of traditional ink making. And through experiments to understand the correspondence between paper and rubbing effect.
Chapter 4 is a concrete practice based on the theoretical exploration of the thesis topic, divided into two parts: one is the integration of creative ideas. The other is to use rubbing techniques to create ink paintings, so as to achieve the research results of combining theory and creation. Chapter 5 is the conclusion, including the self–knowledge growth experience of this creative research, and further extending and developing on this basis, becoming the artistic foundation for future creative research. |
