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    題名: 從「見素抱樸」看「童顏歡笑」-何雅雯油畫創作論述
    其他題名: From "Chien Su Pao Pu" Viewing "Children's Smiling"-thedescription of oil painting creations by Ya-Wen Ho
    作者: 何雅雯
    Ho, Ya-wen
    貢獻者: 視覺與媒體藝術學系碩士班
    謝碧娥
    Pi-e Hsieh
    關鍵詞: ;見素抱樸;老子
    laughing;jian su bao pu;Lao-tzu
    日期: 2010
    上傳時間: 2015-03-03 10:12:25 (UTC+8)
    摘要:   本創作論文主要將筆者心中「童顏歡笑」的構思,轉化為作品。過程中乃透過老子「見素抱樸」的觀念,闡釋孩童天真質樸的率性表現;並藉由心理學的分析解讀孩童歡笑的心理反映和作品呈現。研究論述的主要架構為:(一)理論分析與闡釋;(二)畫派觀念和技法的結合與應用;(三)個人作品分析。藉由這三大部分來呈現筆者的創作觀。   第一章,說明整個創作論述的研究動機與目的,研究方法與步驟,以及研究架構。第二章,以老子哲學的美學思想為基礎,探討「見素抱樸」與「回歸嬰兒」的概念,以及老子美學對筆者的影響。第三章,描述兒童心理學中關於笑的發生與發展,笑的生理與心理反應,以及孩童歡笑與見素抱樸觀念的契合。第四章,畫派觀念與形式技巧的運用,並透過「童顏歡笑」的創作轉化來實踐創作理念。第五章,敘述筆者研究所時期畫風的轉換,如何從印象寫實到變形、分割與重疊,並依其內容、形式與技巧進行分析。第六章是筆者創作心得的結論與展望。
      This artistic study aimed to transform the idea of "the smiling children" into creations. On the basis of Lao Tzu's concept of Jian Su Bao Pu, this study involved a process to expound children's innocent and unadorned expressions. In addition, based on the viewpoint of psychology, explaining the smiling children's psychological reactions and apparent presentations was also included. The structure of this study was mainly divided into: (1) analysis and demonstration of the theory; (2) integration and application of the drawing factional concepts and techniques; (3) analysis of researcher's creations.   This artistic study consisted of six chapters. Firstly, the motivation, purpose, methodology and procedure were presented. Secondly, based on Lao Tzu's philosophic concepts of aesthetics, the discussion of "Jian Su Bao Pu" and "Hui Gui Ying Er" and the influence on researcher were displayed. Thirdly, based on the viewpoint of child psychology, the happening, the development, and the physiological and psychical reactions of children's smiling were described. Moreover, the conjunction of "Jian Su Bao Pu" and children's smiling were also involved. Fourthly, the application of drawing factional conceptions and techniques were discussed. Furthermore, the researcher's transformative perception of children's smiling was employed to complete creations. Fifthly, the alternation of the researcher's drawing manner of the creations from impressionism to realism and from deformation, division to overlap following the details of the contents, modalities and techniques were analyzed. Finally, the researcher's conclusion and further implications were demonstrated.
    顯示於類別:[視覺藝術與設計學系] 博碩士論文

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