蜃景

Tunghai University Institutional Repository > 創意設計暨藝術學院 > 美術學系所 > 碩士論文 > Item 310901/26112

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题名:	蜃景
其它题名:	Mirage
作者:	陳睿淵 TAN JUI WEN
贡献者:	李貞慧;林銓居美術學系
关键词:	建築樣式;模糊視野;風景;現實;幻想場景;海市蜃樓 blurred vision;landscape;reality;fantasy scene;pattern of buildings;mirage
日期:	2015
上传时间:	2015-12-21T06:46:28Z (UTC)
摘要:	本篇論述記載了我從2012年至2015年的創作歷程。從最初對構築幻想場景的追求，到慢慢地在生活、藝術史及零散的相關學科中，嘗試搜捕相互契合的元素。文中的五個章節，從第一章，對畫面形式及架空景色的執迷為出發點，順著風景畫的脈絡，藉著地誌學的概念，慢慢整理出奠基於現實，構築虛幻風景的創作方式。構成這套創作系統的根源，則收錄於第二章，其中記述了從自身來歷、生活中的各種提示、不同脈絡的視覺圖像中，提取畫面構成元素的過程。也述說了，作為主要畫面構成元素的模糊視野，如何藉著凝望乏味繁瑣的身邊建築景物產生。接著在第三章，敘述了作品的繪製手法，及畫面形式安排的考據。同時於此章節，試著梳理了膠彩媒材之於我的意義，和使用的¬¬緣由。第四章則以線性的方式，分析了作品發展的歷程──從一開始的〈風景〉；傾向對真實景色的記錄，到〈蜃景〉；開始納入較多的虛幻元素，並引入海市蜃樓的概念。到最後的〈空想地誌〉中，意圖以旅行中不斷變換的視野片段，以三個不同視點串聯成腦海中的奇幻景象。在最後的結語中，簡單歸納了自身及作品的狀況。 This discourse reviews my course of art practicing from 2012 to 2015, which begins from my pursuit of constructing a fantasy scene, then gradually incorporates elements which obtained from everyday life, art history and different subjects, and ultimately realizing on paper in painting form. In the first chapter among the five, it starts with my obsession with form and imaginary landscape, goes along with the context of landscape painting and concept of classical Topography, comes up with a method of creating fantasy scene based on reality. Chapter two describes how my background, implications from life, graphics from different sources provide inspiration for my works. For example, the blurred vision of city view which plays an important role in my works is the result of day-dreaming that occurs while staring at the complex but boring pattern of building structures. Followed up by chapter three, which describes techniques and painting compositions used in my practice, and also their references. Other than that, meaning and reasoning of choosing ‘Asian Gouache’ as my major painting medium are also mentioned in the chapter. Next, Chapter four analyses the evolvement of my work according to timeline, starting from “Landscape” which is more like a depiction of reality, moving towards “Mirage” series those integrated with the concept and image of natural optical phenomenon, and finally ends up with “Topography of No Place”, a triptych formed by three different fragments of a moving perspective occurred while travelling, intend to formed an illusory scene by combining different perspectives into a panorama. Lastly, a brief conclusion states out the positions of me and my works can be found in chapter five.
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