一、藉由對水墨畫傳統的回顧與理解，賦予水墨創作內涵與造型的提升。
二、探討東方美術中書法與繪畫所形成的文人美學意義。
三、探討如何透過形象寫生、筆墨構圖到主觀造型，將水墨畫提升以凝鍊的藝術創作形式。1. Through the review and understanding of the tradition of ink painting, the connotation and modeling of ink painting are improved.
2. Explore the literati aesthetic significance of calligraphy and painting in Eastern art.
3. Explore how to elevate ink painting to a condensed form of artistic creation through image sketching, pen and ink composition, and subjective modeling.
透過水墨造型研究，理解創作者在表現題材、形式與創造性間，如何進行藝術主題實踐與風格的建立。
Through the study of ink and wash modeling, we can understand how creators practice art themes and establish styles among expression themes, forms and creativity.
1、高千惠。《藝種不原始》。台北：藝術家。2004。
2、朱良志著。《扁舟一葉 理學與中國畫學研究》。合肥：安徽教育出版。2006。
1. Gao Qianhui. "Art is not primitive". Taipei: Artist. 2004.
2. Written by Zhu Liangzhi. "Bianzhou Yiye: A Study of Neo-Confucianism and Chinese Painting". Hefei: Anhui Education Publishing House. 2006.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 平時課題討論、報告、出席平時課題討論、報告、出席 Daily topic discussions, reports, attendance |
30 | 依上課主題進行分組報告 |
| 平時創作、期末創作評圖平時創作、期末創作評圖 Daily creation and final creation review |
70 | 每學期中、期末分別完成授課教師要求之作業進度 |
