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從構圖形式特性看陳其寬繪畫的求變與創新

Study on the Inventiveness and Changeableness Through the Character of the Composition in Chen Chi-Kuan's Paintings

黃梅香

HUANG, Mei-Hsiang

中國文化大學藝術研究所碩士、現職自由寫作

Master of Art, Graduate Institute of Art, Chinese Culture University, Freelancer

劉國松，《陰陽之三》，1973年，紙本、水墨，圖片來源：畫家自藏。

摘要

具建築專業背景的陳其寬，蹐身中國水墨畫領域的初衷與目標，是要開拓中國水墨的嶄新面貌，其中，獨特的構圖形式，是陳其寬繪畫作品中最吸引人與創新的關鍵所在。他的繪畫構圖形式特性，依筆者的硏究發現，包括：（一）狹長形結構的畫幅、（二）高空鳥瞰式的轉動造景、（三）對稱反置的構圖、（四）建築造型與空間。

本論文硏究，主要透過陳其寬在世時第一手的珍貴訪談記錄，輔以相關之美術心理學、美學與風格分析等方法，進行硏究論述。

關鍵詞

狹長形結構的畫幅、高空鳥瞰式的轉動造景、對稱反置的構圖

Abstract

Equipped with Professional Architectural training and practice, Chen Chi-Kuan had painted Chinese Ink painting in order to explore the boundary of Chinese Ink Painting. The key point and the most appealing element among his invention is his unique form of composition. This study analyses his forms of the composition as follows:

1. Narrow but Long Rectangular

2. Dynamic and Bird-eye View

3. Symmetrical and Contrast

4. Architectural Form and Space.

This study is accomplished through interview with the artist before the artist had passed away. The methodology of Psychology of Art, Aesthetics and Analysis of Artistic Style are employed to discuss the topic.

Keywords

Narrow and Long Rectangular Composition, Dynamic and Bird-eye View, Symmetrical and Contrast Composition

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