繪畫創作中的文學思維研究:林岡弘藝術創作論述

Abstract

繪畫與文學，作為兩種不同的藝術形式，卻往往在表達情感、故事和思想上有著相似之處。在繪畫創作中，文學的特質是經常被用作為一種形容特殊的作品樣貌及風格。不管在西方或東方，「畫中有詩」經常成為某種特質的繪畫作品的意境。歷史上許多地方也經常見到兩者思想相互影響的例子，畫者嘗試藉由筆觸與色彩捕捉詩意，而詩者透過文字描繪出像畫一般的景象。這種互動使得兩者之間的關係可說是難以分捨，在歷史上也都得以藉由彼此，成為從突破原先的藝術創作界限的契機。筆者基於繪畫創作的基礎，本研究試著從四個面向探討繪畫與文學兩者之間的關係。一是從繪畫史中的文學文本切入，探討繪畫內容中文學的演變及各時代所產生的創作特質，試圖分析此類元素在繪畫創作上的影響。第二部分則是從繪畫歷史上的圖文關係的結合形式，如象形字、題字、版畫來探討繪畫與文字相互指涉所產生的變化，第三部分是探討身處在臺灣這塊土地，對於家鄉上的繪畫與文學之間的影響，第四部份則是進一步思考圖與文的無形結合，何以繪畫中會產生文學性或是詩意。透過四個部分文獻的探討與分析，進而在筆者的創作中應證或探索兩者之間的連結與界限。在創作實踐方面，筆者分別以《上善若水》與《旅途》兩個系列主題試著作為對東、西方文學思維的呼應。描述的內容是以筆著生命中各個階段所生活的景色與體會的心境，透過文學思維與繪畫之眼，投射情感的同時也將熟悉的場域運用文學思維的轉化，探討文學思維在繪畫中體現可能的交匯。

Painting and literature, although distinct in form, often convergein their expression of emotions, stories, and ideas. In painting, literary characteristics are frequently used to describe unique styles and appearances of artworks. Throughout history, both in the East and West, these art forms have been subjects of ongoing discussion. The concept of'poetry within painting' is a common theme, especially in Eastern art, where certain paintings capture the essence of poetry. This mutual influence is evident in the way painters use brushstrokes and colors to encapsulate poetic sentiment, while poets create vivid, pictorial scenes through their words. This interaction has historically led to an inseparable relationship between the two, often serving as a catalyst for breaking traditional artistic boundaries. Based on a foundation in painting, this study explores the relationship between painting and literature from four perspectives. Firstly, it delves into how literary texts have influenced painting throughout history, analyzing the evolution of literary elements and their impact on artistic creation. Secondly, it examines the historical interplay between text and image, including hieroglyphs, inscriptions, and prints, and how these forms reflect changes in their interrelation. Thirdly, it investigates the intangible integration of text and image, exploring how paintings achieve literariness or poetic quality. Finally, it considers the influence of both art forms on each other in the context of Taiwan, exploring the boundaries and connections between them through these aspects.In terms of practical creation, the series"Supreme Goodness as Water" and "Journey" are used as reflections of Eastern and Western literary thinking. These works depict various life stages, landscapes, and emotional experiences, blending literary thought with the artistic vision. Through this process, familiar settings are transformed by literary perspectives, exploring the potential intersections of Eastern and Western literary thinking in painting.