本創作論述的作品分為三部分，其一為文化之美：作品取材自敦煌石窟與壁畫的佛教造像，作品主要雖以摹寫為主，在創作過程中，為脫傳統摹寫的單一既定印象，個人在畫作上書寫經文或為題記，書體含括出土漢簡、篆、隸與楷書。其次為文化意象：作品取材自出土的史前文物與畫像石圖象等，在色彩運用與構圖形式上，則為個人對傳統文化審美意識的追求。其三為室內風景：作品以傳統文化的筆墨精神為底蘊，外在視覺則為現代的抽象化形式表現，運用傳統筆墨線條、文化符號，作為抽象形體的再轉化。此系列的作品植基於傳統圖像，以延續傳統傳統文化的精神，作為對應西方現代性的繪畫形式表現。 本論述在作品發展與創作的歷程上，所啟發與導引個人創作歷程與作品的發展，主要為個人的繪畫養成、藝術觀與傳統礦物色彩實驗與運用。創作論述主要基於個人對傳統藝術的熱愛，以透過自我藝術能力的提煉與開發，作為奠定個人未來創作與研究的方向。 在藝術形式表現上，以個人內在的文化自覺，傳統繪畫筆墨精神與藝術文化傳承為依歸。運用傳統圖象與礦植物顏料為形式與媒材，在現時代中西藝術衝擊激盪之下，建構個人藝術創作形式與技法的階段性實驗。 These are divided from beauty of culture, beauty of idea and harmony of old and new. Works of <Beauty of culture> express motives of Dunhuang wall painting, Chinese Classics and Chinese inheritance. Works of <Beauty of idea> express artistic ideology from Chinese traditional art. Works of <Harmony of old and new> express the essence of Western and Eastern art. The last goals of the treatise are to express artistic view, studies of Western and Eastern and creative method of Chinese traditional art material. This treatise is the studies and creative processing of Chinese traditional color painting. The motif of my paintings is Chinese tradition but I try to express modern sensitivity. The first chapter is an introduction for motives and history of study and creation. The second chapter is for Chinese traditional art and contemporary art. The third one is for my artistic view and an ideology of creation. The last chapter is method of creation and introduction of my working. It shows my eighteen creative works.For these goals, I refer to the history of Western and Eastern art studies, a method of art studies. The important things in this working are passions of culture and art, development of my art world for my future creation.
