| Abstract: | 摘要藝術家的美學主要在於創作實踐而非理論詮釋，因此，作為一位油畫藝術創作者，我想誠實地回到自身樸素的創作經驗，就實際完成的作品，論述選擇以自然為題材的創作觀點和近乎顏料雕刻之表現技法的美學理由。特別是在後印象主義之後，近一百多年現當代藝術這巨大斷層的瀑布狂流下，我重新考慮均衡、和諧、沉靜、明晰、秩序、統一、形式、完整、飽滿、質樸、無害、美等種種特質，同時援引清晰正確的美學、哲學和藝術理論，使之對自身及所投入的創作實踐有更清醒的認識與理論依據。「最能說明藝術家的目標和能力的就是他的作品。」法國畫家Henri Matisse在其《畫家手記》中如此聲明，因為認同他的看法，所以本論文特別為作品保留獨立展示的頁面空間，並且將之置於論文之首，其後再輔以相關創作自述。論文的架構如下︰一、創作實踐(一)家鄉的景物︰共計有《向晚的老家屋》等十幅油畫作品。(二)摘自失落日子的片段︰共計有《晨光裡的紫色藿香薊》等十七幅油畫作品。二、創作自述(一)一張空白的畫布︰重新檢視自Manet、Monet、Cezanne、Gauguin、Munch、Matisse、Picasso以降，至Kandinsky、Mondrian、Malevich、Pollock、Andy Warhol，甚至Duchamp、Manzoni等等現當代藝術系譜上劃時代大師們非凡的創見，以形象在油畫藝術裡消解的事實，大膽論斷「一張空白的畫布」將可以成為「絕對事物全盛期後」必然的結果，進而決定重新出發，秉持加法的創作態度，尋找可能的創作方向。(二)創作的過程︰本章分成以下四個段落，詳述個人的創作主張，及個人在創作表現上的語言和技法。1.我想止步於後印象主義之後的形式冒險2.對立的抗衡產生最美的和諧3.我的語言4.我必須膽敢碰觸物質的世界(三)心物之間︰以佇立在Van Gogh原作前的觀賞經驗，佐以Delenze對藝術的界定、Democritus《原子論》中提及感官認識的朦朧性質、劉勰所著的《文心雕龍》和自身創作經驗的一個例子，試著釐清心和物在創作表達和實現藝術的意義與價值上，錯綜複雜的作用力的交互關係。
AbstractAn artist’s esthetics should accentuate creation itself rather than theory interpretation. For this reason, I, as an oil painting artist, choose to retrace my personal practice, which is plain and rustic. In other words, I reflect on my esthetics by examining my own creation, and further explain the reason why I favor “nature” as my subject matter and why I prefer thick pigment that resembles carving as my painting technique. Instead of getting lost in the tremendous and violent flow of modern and contemporary art that has been dominating over nearly one hundred years since post-impressionism, I reconsider such qualities of painting as balance, harmony, tranquility, clarity, order, coherence, form, wholeness, fullness, plainness, harmlessness, and beauty while creating my own work, supported by clear esthetics, philosophy, and art theories.French artist Henry Matisse once declared in his work Notes of Painte, “Only the work can best communicate the creator’s ability and intention.” And I totally agree with him. Therefore, I reserve the first part of this thesis exclusively to be display of my artistic works, leaving my self-commentary behind in the following parts.The structure of my thesis is as followed—I. Creation of work1.Scenery in my hometown: Including Old House Before Dusk and other nine canvas works2.Extracts from the lost days: Including Purple Wrinkled Giant Hyssop at Dawn and other sixteen canvas worksII. Self-commentary1.A blank canvas: In this section, I quote as many epochal modern and contemporary artists as I can to support my contention. Viewing remarkable ideas from Manet, Monet, Cezanne, Gauguin, Munch, Matisse, Picasso, Kandinsky, Mondrian, Malevich, Pollock, and Andy Warhol, also even from Duchamp and Manzoni, I boldly manifest the fact that “a blank canvas” will be an inevitable result of “the heyday of materialism”. I will then depart from that point, embrace the idea of “addition”, and mold my future creation.2.The process of creation: There are four sections in this chapter, clarifying my creation position, language and techniques.(1) I would linger out the adventure of form prevailing in post-impressionism.(2) Opposability and rivalry can bring heavenly harmony.(3) My language(4) I must bravely touch the material world.3.Between mind and material: Inspired while viewing Van Gogh’s original work, I decide to examine Delenze’s definition of art, “dimness of sensory recognition” brought up by Democritus in his Atomic Hypothesis, and Liu Xie’s The Literary Mind and the Carving of Dragons while referring to my own experiences of creation. By doing so, I try to clarify the relationship between mind and material during creation, figuring out their complex dynamics and reciprocal effect. |
