詮釋資料說明

文件類型

研討會論文

研討會

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會

題名

胸中藏丘壑．筆底壯山河－論羅振賢繪畫意蘊與教育思想

題名(英)

Profundity in Mind · Magnificence in Strokes– On the Meaning and Educational Thought in Lo Cheng-Hsien’s Painting

作者

何堯智

期刊

2022大地情緣─臺灣近代水墨創作發展兼論羅振賢水墨創作與教育思想學術研討會論文集

單元

論文

出版西元年月日

2022/02

頁次

第109-122頁

關鍵詞

以意造境 、 以情寫景 、 以師造化

關鍵詞(英)

create atmosphere with meanings 、 depict scenery with feelings 、 expre

全文內容

本文以「2022大地情緣－羅振賢水墨創作展」的「蓬萊探勝」、「異域尋幽」、「筆痕墨影」及「新皴新境」四個系列為研究對象。從探索畫家心靈映射「以意造境」，將主觀的生命「情」調與客觀的自然「景」象交互相融之靈境於藝術創造的意象。延伸「以情寫景」將王國維「境界」說的美學意蘊，所影響畫家的「有我之境－顯我」與「無我之境－隱我」主觀及客觀的統一。並藉以書藝鈐印線性緊湊而變化的深度和廣度，進行著傳遞時間與空間的視覺思維，促使中國水墨繪畫詩、書、畫、印「以詩抒情」的和諧之美，其同時呼應了蘇東坡所提出的「美學觀－筆墨境界」與「文學觀－文思境界」的結合。畫家新巨作不僅勇於嘗試構圖之形變、實驗墨相質感之技法、開拓水墨語境之新貌，雖以山川、梯田、荷鏡為描繪對象，多年「以師造化」的教育思想，已並非對大自然的客觀再現，而是以山水筆勢為載體，寄寓或闡述畫家的自然觀、審美觀乃至社會觀；亦是自然景致的境界、人生經歷的境界及內在底蘊的境界之展現。

全文內容

The research targets of the study are the four series, “Formosa Attractions,” “Foreign Attractions,” “Traces ofBrush and Ink” and “New Sphere of Art” of “2022 Affection for the Earth — Lo Cheng-hsien Ink Painting Exhibition.” The exploration of the painter’s mind reflects “creating atmosphere with meanings.” The subjective “feelings” in life and the objective natural “scenes” are integrated to create the spiritual image in the creation of art, extend to “depicting scenery with feelings,” which corresponds to Wang Guo-wei’s aesthetic meaning in the theory of “jingjie (state),” and further affect the painter’s unity of the subjective “state with me-visible me” and the objective “state without me-invisible me.” The intensive and changeable depth and width of the lines in the calligraphy and seal arts show the visual thinking of time and space and create the harmonious beauty of “expressing feelings with poetry” in the poetry, calligraphy, painting, and seal cutting in the Chinese ink art. At the same time, it corresponds to the combination of “the state of ink art–aesthetic view” and “the state of literature-literary view,” proposed by Su Dong-po. In the new huge works, the painter dares to try to make changes in composition, experiment on the skills of different ink textures, and explore the new sphere of ink art. Through the subjects of landscape, terraced fields, and lotuses, the educational thought of “following nature” is not longer the objective representation of nature. Instead, each stroke of the landscape as the carrier is endowed with the painter’s interpretation and viewpoint on nature, aesthetics, and society. It is also the manifestation of natural scenery, life experience, and inner profundity.

出版者

國立國父紀念館

出版地

臺北市

備註

ISBN:978-986-532-559-6(平裝)
GPN:1011100213