国立新竹教育大学人力资源教育处教师在职进修

IListeningandstaringTheCreationExpositionoftheEcologicalEnvironment'sConcernChenJueChengII2005200IIIAbstractListeningandstaring—TheCreationExpositionoftheEcologicalEnvironment'sConcernAllthecreationsaremadeduring2005-2006.Usingacrylicpigmentasamainmedium,thecontentconcernsforTaiwan’secologicalenvironmentastheprincipalaxisoftheexposition.Taiwan'secologicalenvironmentisveryfragileandhasbeenharmedbydecadesofrapiddevelopments.It’sespeciallyunderabigthreatinthelastfewyears.TohighlighttheseriousnessofTaiwan’secologicalcrisisandshowtheurgencyofprotectingTaiwan’secologicalenvironment,Ichoosethistopic“Listeningandstaring”tointrospectinghuman’sdestructiononthisland.Basedonthisprincipalaxis,Idevelopallthecreationswithimaginativethoughtrelatedtotheacademictheories,culturalheritage,artworkstyles,andtheanalysisanddiscussionofcontentmeaningtobuilduptheintegrationoftheideasandthereality.It'slistedasthefollowing.Thepurposeofthisresearchistostudyestheticanalysisandrelatedtopics.Thetheoriesfoundationofthisresearchincludes:thehumanspiritthatrealismandpost-modernismpayattentionto,symbolismthought,usageofsurrealismskillandexistism’sintrospectionforthefuture.Thecontentofthisresearchshowsthedifferencesandsimilaritiesbetween“ancient”environmentphilosophyoftheeastandthewest,theecologicalcrisiscausedby“modern”human-centeredthoughtandthe“nowadays”ecologyintrospection.Chapter3describeshowIdesignthecreationsbypersonalartisticstyle,skillmethodandtheusageofmedium.Istudythestylesandskillsofdifferentpaintingpartiesthroughchoosing,blending,extending,expanding,andjoinmyownpaintingsymbols.Bythis,Itrytobuildupmyownartstyle.Iinducethefollowingthreekindsofstyles:First,compoundmultiple-spacepresenting.Secondly,thegettingandloosingofthefocusandpursuitofthecoloratmosphere.Third,presentingofmetaphorandsymbols.Theskillmethodandmediumarealsousedinthreeaspects:First,therealisticskillmethodtostrengththeemotionmovedbythecreations,Secondly,theusageofdifferenttexturestoenrichthecontentsofthecreations.Third,theusageoftheexistingmaterialstodeepeninsidemetaphorofthecreations.IVChapter4describesthestyleanalysisofmycreationsbyitscontentandtheformingtechniques.Inshort,mycreationsfor“Taiwan’secologicalenvironment’sconcern”istoshowcaringemotionsforthelandbycombiningissuesoftheecologicalenvironmentandestheticsofvariousskillmethods.Keywords:thehumanspirit,ecologicalenvironment,realism,post-modernism,symbolKeywordsecologicalenvironmentrealismhumanspiritV................................................................................1..................................................................1..............................................................3................................................................7.......................................................................8....................................................................8..................................................................16.............26..........................................................26......................................................31................................................................36................................................................................57................................................................................................60VI1-120056979cm………..41-220056979cm………….41-1…………………………………………………………………..6-1186265.490.2cm………………………102-21984203.240.6cm…….102-319059073cm……………………………….…122-420055579cm….12-5200511079cm……….12-61911192151cm……………….132-7200611079cm……..…132-8191111079cm…………………………………153-1200611079…273-220065579cm...273-3200611079….273-41642387520……………………………283-5200611079cm………………..…..283-6190369105.5cm………………….293-7200511079cm……...293-81936350.5782.3cm…………………..303-9200511079cm……..303-10200611079cm…………323-1120065579cm…333-1220065579cm…………………..…333-1320055579cm…34VII3-1420065579cm…343-1520065579cm…3420055579cm…3620055579cm…3820065579cm…3920065579cm…4020065579cm…4120065579cm…4220065579cm……………………..…43200611079cm……………………………44200611079cm……………………………45200611079cm……………………………4620065579cm………..……..…..4720065579cm……………...…4820056979cm……49200611079cm……………………………………50200511079cm….52200611079cm……………..….54200611079………..55121120021303421-11-21-169×75cm20052321997161-269×75cm200554561-173320021288942-152-267419851085199879962002334335719872088200010991992622-165.4×90.2cm18622-2203.2×40.64cm198411GustaveMoreau,18261898102-311MauriceDenis122-42-510199782115819962212199883012132-61319988262-411075cm20052-39073cm19052-569×75cm131419992-7142-711075cm20062-6192151cm19111415(2-8)161715161719972151819189192-8192151cm1911162020301990136172121200132181222鼈232285199879802321319951219324425242001372512720053320119902272626172127Plato27175322Aristotle2829EugeneOdum2885419988129854199882319583031PaulwTayor19861234323019581832831228232228224333322822512262734(3-1)(3-2)(3-3)3-111075cm20063424719953343-26090cm20063-35575cm200628(3-4)35(3-5)(3-6)35197669-703-4387520cm16423-511075cm200629(3-7)P.Picasso,188119743-83-669105.5cm19033-711075cm2