| 摘要: | 本研究主要是以油畫創作方式，表達筆者個人對於情愛的體驗與觀點。筆者藉由圖像學（Iconology）理論來闡釋個人的情愛象徵，在繪畫中個人採取了超現實主義（Surrealism）的創作形式及印象主義（Impressionism）的觀念和技巧。因此，論文除了對圖像象徵有較深入的探討，也對超現實主義的創作理念和方式有進一步的分析和理解，並結合印象主義的色彩觀念，完成個人的繪畫創作和論文撰述。 論文第一章為緒論，說明創作動機與目的、研究問題與難點、以及研究方法。此章從筆者個人的情感談起，闡述個人如何以油畫創作抒發情感，如何藉由圖像象徵來傳達情感和創作意涵，以及在研究與創作上所面臨的困難。方法上，其一是圖像學的分析，從剖析圖像象徵著手，其次文獻探討是以超現實主義與印象主義為主，其三創作實驗是將個人創作理念落實繪畫作品。 第二章為圖像理論與象徵，主在了解圖像象徵的起源、發展與理論基礎，並探討傳統圖像象徵的運用，以及個人基於社會型態轉變而創造的新象徵。第一節說明圖像學與藝術作品之間的關係，第二節論述象徵的起源與發展，及象徵如何運用在藝術創作當中，第三節探討潘諾夫斯基（Erwin Panofsky 1892-1968）所提出的圖像學理論。 第三章為繪畫中情愛象徵與題材的表述。第一節探討傳統繪畫主題中的情愛象徵表現；第二節探討西方藝術中情愛題材的表述，包括宗教經典、古典神話、文學詩作、社會風俗、畫家個人內心世界等五類創作題材；第三節將探討以情愛為創作主題的畫家─夏卡爾（Chagall, 1887-1985）與卡蘿（Kahlo, 1907-1954）的情感表現與創作風格，並說明其對筆者在創作上的影響。 第四章闡釋張耀庭（作者本人）作品的形式、內容象徵，及其與超現實主義和印象主義之間的關係。第一節論述超現實主義與印象主義的發展背景、表現形式與創作技法，並說明筆者如何將其運用在個人創作之上。第二節論述筆者作品中圖像象徵的表現形式，以傳統圖像與個人創造的圖像為主。 第五章為個人作品分析，敘述筆者在此階段創作的歷程與轉變，並說明所有作品的創作形式與理念。第一節描述筆者在創作歷程上的靈感來源、困難挫折與突破。第二節將深入分析本研究的所有作品，論述主題內容與形式技法。最後結論，提出個人在創作及論文撰寫過程中的研究發現，包括筆者個人學習上的心得與收穫、創作上的體悟與未來的創作方向，並以此做為個人將來研究發展的起點。
The study is based on oil paintings to express my personal experience and points of view on love. The iconology is used in the study to explain my love symbol, and the concepts and skills of creative ways from Surrealism and Impressionism, are also adopted in the paintings. Except the deeper treatment of image symbol, there is also further analysis and realization of the creative ideas of Surrealism in the study, and the color concepts of Impressionism are also combined together to finish my creative paintings and thesis. In chapter one, it’s the introduction of whole study, including motive and purpose of creation, problems and difficulties on study, and research method. The chapter starts with my personal emotion, and describes how the oil paintings can express my emotion, how emotion and creative meaning can be conveyed through image symbols, and what kinds of problems on research and creation I met. From the aspects of methods, there are three methods. Firstly, it is the analysis of iconology, and it starts with the analysis of image symbol. Secondly, the treatment of literary is based on Surrealism and Impressionism. Finally, the creative experiment is to put my creative ideas into paintings. In chapter two, it consists of picture theory and symbol, and the main purpose of the chapter is to realize the origin, development, and theoretical foundation of image symbol. Furthermore, there are discussions of the application of traditional image symbol and discussions of new creative symbol generated from transformation of society. Descriptions of the relationship between iconology and works are presented in section one. The origin and development of symbol, including the application of symbol to creation on art, are described in section two. There are treatments of Panofsky's iconology in section three. In chapter three, it includes the expression of symbolic subjects and love subjects. The treatment of symbolic presentation of traditional painting subjects in the section one. The discussions of the expression of love subjects in western art, such as religious classic, classical mythology, literature poetry, social customs, and the inner world of artists are presented in section two. In section three, there is exploration of Marc Chagall’s and Carol’s emotional expression and creative styles, and the subjects of their works are usually on the basis of sentiment. Besides, there is also clear statement about their affection on my creations. In chapter four, there is detailed explanation of the style and symbolic content of my works ( author, Zhang Yao Ting ), and there is description of the relationship between Surrealism and Impressionism. The description of the background, expression way, and creative skills about Surrealism and Impressionism is put in section one, and there is also explanation of how I employ those concepts to personal creations. In section two, there is description of the image symbols on my expression ways, which are mainly based on traditional images and personal creative images. In chapter five, it’s the analysis of personal works, and the experience and transformation of my creations in the process are clearly presented, including the statement of creation ways and ideas of all my works. In the section one, it describes the source of inspiration of my creation, the difficulties, and the breakthrough. In the section two, there is deeper analysis of all works, and there are treatments of the content of subjects and treatments of formal skills. Finally, research findings, which are found in my creation and writing of essay, are proposed, including my personal learning experience, what I learn from the experiences, and the direction of future creation. My future creation will be based on the above several points. |
