器物心象─楊永能創作論述

Tunghai University Institutional Repository > 創意設計暨藝術學院 > 美術學系所 > 碩士論文 > Item 310901/24164

Please use this identifier to cite or link to this item: http://140.128.103.80:8080/handle/310901/24164

Title:	器物心象─楊永能創作論述
Other Titles:	Mental Imagery of Still life ─ by Yang,Young-Neng
Authors:	楊永能 Yaung,Yung-Neng
Contributors:	林文海教授 LIN,WEN HAI 美術學系
Keywords:	油畫;油畫材料;靜物畫;油畫媒材
Date:	2013
Issue Date:	2014-02-21T01:09:27Z (UTC)
Abstract:	摘要在於年少時期曾經因喜愛美術有過短暫的學習，之後埋藏這種子於內心，經歷二十幾年後隱隱觸動發芽，這好似天命般牽引著，終究回到必須完成的一件事。此時回到美術系研究所重新拾起畫筆試探自命不凡的恩惠以及彙整一套創作系統，期望啟發將來孤獨的創作生涯。本研究藉由器物繪畫來探討自我繪畫的創作性，從16世紀靜物畫在北歐的法蘭德斯與荷蘭萌芽開始到18世紀，靜物畫發展的第二個高峰，對於當時期文獻資料中出色的藝術者進行探尋，當中特別選以創作表現為筆者所欣賞、讚嘆的對象，17世紀的荷蘭畫家威廉•卡爾夫(Willem Kalf)作為本繪畫創作文獻基礎。另因古典畫引發對於材料的好奇心，對基底材、媒介劑與顏料加以探索，於是收集材料文獻資料再自行調配實驗，於第三章中以圖片、文字整理說明，第四章呈現創作作品，介紹使用媒介劑與畫面表現的實驗關係與創作作品論述。 ABSTRACTMental Imagery of Still life─byYang,Young-NengWith love of Fine Arts, I learned it for a short time when I was young, then, such a seed as the passion is hidden in my heart and buds vaguely after two decades of years which is likely to be a destiny dragging me to the thing I have to accomplish it. In such an event, I returned back to the Institute of Fine Arts Department and picked up brushes for such tentative, pretentious kindness and aggregated a complete set of authoring system for the expectations to inspire a lonely author’s career in the future.The creativity behind self-painting was discussed by virtue of artifacts paintings in the Study herein, where the range was from the still life paintings initiated in Nordic Flanders and the Netherlands in the 16th century to those ones in the 18th century; at the second peak time of its developments, those artists who had great contributions to the literatures at that time began their explorations and searches, among of which, the works created by a Dutch painter, William Kalf in the 17th century were selected for the subjects I appreciated and gave praises for and served as the basis of literature in topic of the creative painting herewith.Besides, my curiosity for the materials was driven by the classical style of paintings where I made researches on the substrate materials, media agents and pigments; hence, I collected materials for literatures then allocated them for experiments which were illustrated with images and texts in Chapter III, while Chapter IV presents creations and introduces the experimental relationship between the use of media agents and expressions on the display, as well as discourse of creative works.
Appears in Collections:	[美術學系所] 碩士論文

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