| 摘要: | 山水畫為中國獨擅之畫科，主要源於中國人隱逸山林與樂山樂水的自然天性，其精神與表現皆迥異於西洋風景畫。林木可謂為山水畫中重要課題之一，透過其各種造形姿態的呈現，以及水墨勾勒、皴擦點染的表現，可傳達畫家內心之豐富情感，亦可讓咫尺山水畫中醞釀出無窮無限的心靈意境。 林木不僅可獨立構築美感的整體，也牽連著山水畫之流轉演變，甚至影響山水畫之整體形貌──以技法層面而言，因林木姿態多變，其表現技法具一定難度；以表現內容而言，山水畫之生機感、視覺美與表現性主要係靠林木形象來加以體現；以畫面形式而言，林木既為山水畫構成之重要元素，畫面中點、線、面之鋪陳置勢與空間感之營造，皆需對林木形象具嚴謹審密之掌握。 本文以山水畫中的林木造形表現為切入點，佐以歷代著名山水畫作品作為研究素材，探究中國傳統文化與山水畫中林木表現內涵與風格之間的關係，以及林木在山水畫中的技法展現、林木造形之歷代發展脈絡，及其在畫面鋪陳布勢等面向之分析探究。 本論文共分為五章：第一章為緒論，包括研究動機與目的、研究方法與範圍等。第二章為相關文獻回顧，包括山水畫源流、林木意涵、歷代林木表現法之演變、造形基本理論與美的基本原理等，以為後續章節研究之基礎。第三章則整理林木相關史料，包括敘述林木之意義、哲思與風格，再從歷代畫論與題畫詩歸納出有關林木之文字論述，並透過系統性地分析林木在山水畫中角色類型與配置份量。第四章分析山水畫中林木造形之結構，並分析其不同型態於畫面配置時之運用，歸納出其相互關聯性，並瞭解其常見之造形原理原則。第五章為結論，提出整篇論文的研究心得與價值呈現。 本論文研究心得：林木與人類的關係密切，且具有文化性、宗教性、藝術性等三方面的美感特徵。其次，林木造形在建構山水畫中之整體視覺形態、歷代發展脈絡、造形原則等面向中，均顯現出普遍性、專業性與心理性的結構規律與法則。再者，林木於山水畫面上具有畫面視覺引導與焦點作用，以及畫面空間之推陳作用之視覺效果。 總之，林木係山水畫中重要視覺符號之一，與山、雲、水等各自擅場。林木造形係以精湛巧妙的筆墨與符號，在紙質媒材上展現元素之獨特風貌，也讓中國山水畫能輕易地體現出中國哲學的內涵與精髓，隨本文對林木各種面向之論述分析，與歷代畫論、畫作相互映證，對林木風格與造形之研究命題，已系統性地建立一套清晰可尋之脈絡。
Landscape painting is a unique part in Chinese paintings, mainly driving from Chinese people’s human nature which liking to be obscure and enjoying life in the woods and mountains, so the spirit of Chinese landscape painting is totally different from that one of the Western.Trees is one of the important subject in the Chinese landscape paintings, expressing the painter’s inner abundant feelings by means of brush pens with various form, ink lines and fading skill, which also brewing the endless mental inspiration. Trees is not only can be independent to be an entire body of aesthetics, but also interfere the transformation of landscape paintings, even having influence on the whole picture of one — on the technique, owing to the various form of trees, which having some difficulties: on the content, the vivid of the landscape paintings and aesthetics need to be expressed by the image of trees: on the form of the paintings, since trees is the crucial factor, point, line, and plane which constrcts in the space with the image of trees needing to be controlled considerably. The study is focus on the form of trees, coming with the work of historical Chinese landscape paintings to research the relationships between meaning and style as well as the technique, historical development, and display among the traditional Chinese culture. This study is conducted with five chapters. The first chapter is Introduction, which contains rationale, research background and scope. The second chapter is Literature Review. The third chapter is the Philosophy of Trees with style of trees in the historical Chinese paintings. The fourth chapter is the analysis of trees with structure, display and generalizing the interfere relationship. The fifth chapter is Conclusion and suggestions to the research. After comprehending the study of theory, it turns over to list following several arguments and thinking as well as the following direction of creative research: First, it is very intimate between trees and human and has tree parts of aesthetics of trees statue on the religious, social and artistic characteristic. Second, it includes general rules of trees in structure and principle.Third, it has the effect on leading visual focus and increasing picture distance in general appearance of pictures. In General, Trees is one of the very important visual symbols in Chinese landscape painting, with mountains, clouds and waters which having occupied different areas in the Chinese paintings. The form of trees is a technique ink brush pens with signs to show a unique style and form in the Chinese landscape paintings, which easily expressing theconation and spirit of Chinese philosophy. From the discussion, analysis and reflection on the historical Chinese landscape paintings and literature, this study already has built an obvious context and research proposition on the subjects of trees systematically. |
