本研究係以歷代﹝山鬼圖﹞之研究，呼應個人創作發展，增進筆者對於個人創作母題之理解，並從中汲取創作所需之養份及?涵。本文第二章搜錄楚辭《九歌》中〈山鬼〉之原文與釋義，分析其中楚人尚巫自然崇拜之習俗，與屈原之忠貞愛國形象，對於歷代畫家形塑山鬼形象之影響。第三章以目前傳世之山鬼圖為本，將之蒐集、分類，並對山鬼形象進行探討與研究。第四章則是從本系列的創作起源做為出發，闡述本系列的創作概念與筆者個人的創作理念。第五章談論筆者的自我矛盾與衝突，和其與﹝山鬼﹞系列創作之關係。第六章將說明筆者在此一系列創作的符號、形式、技法與材質上所表現出來的特色。第七章則為筆者本系列創作圖說。 The thesis focuses on study of paintings of “Map of Spirit of Mountain” (Shangui map, 山鬼圖) of past dynasties, echoed the development of individual creation which inspirits the author to perceive the creativity subjects and to derive the connotation and the nutrients required for creation.<br> Chapter II searches and records the original text and interpretation in Chuci(楚辭) the Nine Songs (Jiuge,九歌), which analyzes the customs of Chu(楚) on advocating shaman(wu ,巫) and worshipping nature; moreover, the loyal patriotic image of Qu Yuan(屈原), and their impacts and influences on ancient Chinese artists whiling shaping Shangui. <br> In Chapter III, the author studied and explored the image of Spirit of Mountain (Shangui,山鬼)based on assembling and classifying of present masterpieces on “Map of Spirit of Mountain” . <br> The following chapter proceeds from the origin of creativity, illustrating authors’ imaginative concepts and ideations in this serial of works. <br> Chapter V discusses the author’s self contradiction and incompatible; moreover, it presents the relation between author and work serial.<br> Chapter VI illustrates authors’ distinguishing features of signs, forms, techniques and textures presented in these work pieces. <br> Last but not least, Chapter VII shows thirteen pieces of works the author created explaining its interpretation of each production. <br>
