詩情畫意 by 宇晨企業

仙雲之美習作經驗分享

文 / 林榮泰

畫 / 李仙美

林榮泰教授簡歷林榮泰教授，現任臺灣藝術大學設計學院創意產業設計研究所教授，並擔任臺灣創意設計中心董事長。專注於文化創意、產品設計、人因工程、使用者介面設計以及設計認知理論等跨界相關研究。林教授熱心教學，近年來投入文化創意產業之推動，並在文化創意產品設計領域多所涉獵。林教授提出文化創意產業「源於文化，形於產品，用於生活，成於品牌」的商業模式，並以「思古幽情，現代風華」作為創意核心價值，以及「設定情境，訴說故事，編寫劇本，設計產品」的設計模式，透過教學傳播文化創意產業的相關理念，成果豐碩。林教授服務經歷多元，歷任系主任、所長、院長、校長等職務，曾經擔任明志技術學院、長庚技術學院校長。其他經歷如擔任教育部大學評鑑設計類組召集委員、國科會科學教育處諮議委員、臺灣設計學會理事長與臺灣人因工程學會秘書長等，積極參與創意教育及文化創意設計相關的工作。林教授獲多項國家榮譽與獎項，如 2001 年曾獲國科會資助赴美國 MIT AI Lab 與 TUFTS 大學的訪問學者與短期研究。2012 年再獲第 50 屆國科會科技研究進修人員獎助，赴美國馬里蘭大學雲端運算研究中心短期研究。林教授盡心盡力於「研究產生知識，教學傳播知識，服務應用知識。」之教授天職。

目次自序 - 關於本書

/1 /6

推薦序 - 真理的思索與償還

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推薦序 - 因緣際會

/10 /11

推薦序 -「詩情畫意」背後的鏗鏘頓挫

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推薦序 - 織雲明心

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/13

1 「詩情」本於「畫意」

/17

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「江闊雲低故人歸」的編碼與解碼

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「詩情」本於「畫意」延伸閱讀

2 「畫意」展現「詩情」 ■ ■

詩情畫意的傳播模式

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詩情畫意的認知模式 ■

/24

/27

/29

「畫意」展現「詩情」延伸閱讀

3 「詩情」溢於「畫意」

/19

/39

/40

「詩情」溢於「畫意」延伸閱讀

/44

/36

4 「畫意」超越「詩情」 ■

/51

「畫意」超越「詩情」延伸閱讀

/96

5 「仙雲之美」的「詩情畫意」 ■

結語

/101

迴響

/103

附錄一

/114

附錄二附錄三

/128 /144

編後語

/180

/101

序 - 關於本書本書談論的雖然是「詩情畫意」的繪畫之美，其構想卻來自「雲端運算」的熱門科技。 2013 年暑假，筆者兒子之平 (Jimmy) 應荷蘭國家科學院之邀請，在荷蘭阿姆斯特丹研究參訪三個月，筆者與內人 (Sandy) 前去荷蘭共享天倫之樂、含貽弄孫之趣。Jimmy 的研究領域是雲端運算，這也是他應邀到荷蘭的原因之一；有一天 Jimmy 談起正在寫一本雲端運算的書，需要書的封面設計；Jimmy 知道媽媽習畫已有一段時間，就提議媽媽畫一幅與雲有關的畫作當作封面，這是促成本書寫作的原始動機。原以為 Jimmy 只是說說而已，沒想到回臺灣後，Jimmy 馬上寄了兩張關於雲的照片給媽媽。於是 Sandy 根據這兩張照片畫了兩幅畫作，寄給 Jimmy 請他提供意見；結果一如往常批評多於指教，Sandy 本想放棄。筆者則鼓勵面對挑戰，促成 Sandy 繼續堅持完成相關畫作。既然與雲有關，筆者建議何不以詩詞為題材，創作與雲有關且具詩詞之美的畫作。筆者研究領域與文化創意有關，尤其對漢字文化中的詩詞特別有興趣，同時，指導研究生從漢字、成語、詩詞做有系統的研究。我們常用「詩情畫意」來形容一個藝術家的創作「如詩如畫」，詩人如何透過「詩情」表意，畫家又如何透過「畫意」寫景，創作詩詞或繪畫；一般人又如何「言外領味」去認知其「詩情」，又如何「尚可言傳」去了解「畫意」

是一個值得探討研究的問題。筆者突發奇想，以 Sandy 偶然習畫的動機，到以詩詞為題材的創作過程，作為個案研究的對象。探討閱聽者如何認知藝術家繪畫創作的抽象「詩情」意境與具象「畫意」情境。其目的在於透過 Sandy 習畫的動機，了解如何從入門、臨摹、模仿到嘗試自行創作的過程，本書於焉而成。談起 Sandy 學習畫畫的過程，是一個有趣的歷程，也是一個無心插柳柳成蔭的偶然。 Sandy 世居泰山，從她家後院就可以看到矗立在半山腰的明志工專。因為地緣的關係，小時候她最常嬉戲的地方，就是明志工專優美的校園，特別是一幢幢別墅型的教師宿舍，最令 Sandy 羨慕與憧憬，常夢想有一天能住在明志校園。Sandy 與明志工專特別有緣，她哥哥是明志工專第四屆機械科的校友，筆者則畢業於明志工設科 ( 第 5 屆 )，Sandy 哥哥的小孩也就讀明志工專化學工程科 ( 第 26 屆 )。Sandy 對「明志工專」有一份特殊的情感，不只是上述的血緣關係，也因為我們的「小家庭」受到「明志大家庭」的影響特別多。筆者畢業於明志工專，從學生、老師到主持校務，皆受惠於「明志工專」與王董事長的栽培。我兒子成長於明志工專，其童年生活與兒時記憶深刻的學習經驗，大都與明志工專特殊的教育制度有關。筆者成長於台南一個貧困的家庭，1968 年初中畢業後，放棄就讀台南一中而選擇明志工專，這也是當時唯一能夠讓我半工半讀完成大專教育的學校。1975 年退役後，在國立清華大學電動車發展小組工作一年，1976 年回明志工專工業設計科服務。在這之前我們並不認識，後來在一次偶然的場合認識，也因為明

詩情畫意

仙雲之美習作經驗分享

志工專的關係，Sandy 的爸媽很快就答應我們的姻緣；1978 年我們結婚，Sandy 終於有機會住在兒時羨慕的別墅型宿舍。 1986 年，筆者有幸獲得國科會的獎學金與王永慶先生的資助，在 Sandy 的陪同下帶著 Jimmy 赴美國進修。Sandy 原本學的是會計，在筆者的鼓勵之下改唸國際貿易，完成大學的課程後，繼續修習研究所課程，後因筆者完成學業返國服務，而中斷碩士學位的修業。假如有所謂「生命共同體」的話，我們可稱得上是這樣的一個家庭。筆者出國唸書時，孩子已到就學年齡，Sandy 則已經工作一段時間，也有相當基礎。這種狀況下，大部分人的選擇是：目標學位，速戰速決，快去快回。但是筆者認為出國唸書是一種難得的機會，基於「有福同享」的原則，怎能留下家人，自己獨享？ Sandy 卻認為出國留學是受苦受難，基於「有難同擔」的精神，怎能讓筆者獨自承擔？就這樣我們一家，兩次往返美國與臺灣。回想那一段歲月，我們也稱得上是一個國際家庭，有一段時間我們一家人，曾分散在三大洲，Jimmy 在美國唸書， Sandy 被任職的中環有限公司，派駐英國協助設廠相關工作，我則留在臺灣。無論在異鄉相依為命，或是分散世界各地，逍遙自在、各自為政的日子，都能秉持這種「生命共同體」的理念，以「享受孤獨」為各自目標而努力。 1996 年，筆者擔任明志工專校長，Sandy 毅然辭去工作，給予筆者支持與協助。 1999 年，筆者擔任明志技術學院校長，Sandy 繼續給予筆者支持與協助。

2003 年，筆者調任長庚技術學院校長，Sandy 隨我遷居長庚，以校為家。 2004 年，筆者毅然退休轉任國立臺灣藝術大學。想想過去這些年來，Sandy 隨我進退，也夠辛苦了，應該是「做自己好自在」的時候了。筆者鼓勵 Sandy 開始在台藝大修習美學相關課程，復於 2008 年 Sandy 開始習畫。本書中的 21 幅畫都選自 Sandy 的畫作，涵蓋其從入門、自習、到嘗試自行創作的過程。一般人對於美學或設計的刻板印象，都認為那是藝術家或設計師的專業，遙不可及 ! 想想您如何決定買一個包包、一件衣服或甚至任何一件生活用品，其決策的過程都與您的美感有關。美感是天生的，只是我們把它專業化了，把它天賦化了，認為這種天賦專屬特定少數的藝術家，但這不表示必須放棄我們對美的直覺感受。本書的目的即在透過 Sandy 習畫過程，探討一個素人畫者如何創作「詩情畫意」的作品，經由筆者 ( 觀畫人 ) 詮釋每一幅作品所傳達主題內容，再經由畫作內容的理解，在知覺、認知與感動的反覆溝通過程，再現素人畫者呈現「詩情畫意」的繪畫之美。說明繪畫藝術之美，人人可欣賞，人人可感受，甚至人人可創作。本書又是一本集體創作的成果，這個團隊係以國立臺灣藝術大學設計學院創意產業設計研究所的師生為主；開始可能只是一個教學討論課題，隨著課程地進行，經過一番討論後激盪出創意的火花。首先感謝促成本書出版的所有人，以及為本書貢獻

詩情畫意

仙雲之美習作經驗分享

讀後迴響的作者，雖然大都言過其實，但益顯本書的人情味。特別感謝為本書寫序的林伯賢教授，也是 Sandy 美學的啟蒙老師，再者，吳維平醫師是 Sandy 一同修習美學的同學；這樣的組合又展現本書的另一個多元思維、跨界與跨領域的特點。

林榮泰博士臺灣創意設計中心董事長國立臺灣藝術大學設計學院創意產業設計研究所教授

繪畫創作者

李仙美 Sandy ‧ 出生地：泰山區，新北市 ‧ 學歷：美國新罕布什爾學院國際企業學士 / 企業研究所研究 ‧ 經歷：中環股份有限公司英國廠財務經理

推薦序 - 真理的思索與償還能夠把如此唯美的畫作，用這麼理性的手法研究分析，再賦予詩情畫意的浪漫稱呼，大概也只有林榮泰教授有這樣的功力了。答應提筆為本書寫序，是對書中畫作的創作者 Sandy 的一個償還。我不用畫家這個名詞去稱呼她，是因為她的繪畫一開始就已經擺脫了世俗的框架。至於會用償還這個字眼，則是向解構主義大師德希達（Derrida）學的。他在《繪畫真理的償還》一書中引用了塞尚（Cezanne）的話：I owe you the truth in painting, and I will tell it to you。因為在我心中，一直覺得對 Sandy 有兩個還沒結清的債。第一次看到 Sandy 的油畫作品是在她的家中，在林榮泰教授精心設計的蒙德里安室內裝飾風格的居家壁面上。作品以風景畫為主，構圖簡練明快，筆調活潑自然、用色直率大方。沒有學院派成規的羈絆，Sandy 的畫作呈現一種渾然天成的樸實純粹。然而，對於 Sandy 的作品，我一直有一種「不僅於此」的感動，只是我一直沒有機會說出來。後來 Sandy 和幾位博士班學生一起來旁聽我在大學部開的基礎美學課程，從理性主義到經驗主義，從本體論到認識論，卻還沒機會討論到海德格（Heidegger）對於繪畫真理的論述。Sandy 以素人投入繪畫創作，對於她的首次畫展配合專書的出版，這篇序文正是一個契機，讓我完成對 Sandy 虧欠的兩件債務做一次償還。其實，為本書寫序最大的挑戰不在於該說些甚麼，而是該如何稱呼這位書中的女主角。林榮泰教授是我尊敬的前輩、長官，

詩情畫意

仙雲之美習作經驗分享

和同事，平時我跟著碩、博士班的學生們一起稱呼 Sandy 為師母，因為她對學生和我，都展現了一樣親切關懷的風範。因此，避開師母的稱呼，讓 Sandy 成為一個卓然自在的個體，不復需要存在於其他人的牽絆之中，這樣才能讓我們坦然面對最真實的創作者和畫作本身，回歸藝術的本質。海德格在其〈藝術品的起源〉一文中對於藝術、藝術家、藝術作品三者之間的關連曾經做過深刻的論證，根據海德格的說法，真理發生的途徑有很多，藉由作品的本質（work-being）來展現是其中之一。他所提出的「藝術是真理在作品中的自行置入」（the truth of beings setting itself to work），成為他在美學上極為重要的觀點。如果一幅畫作真的成為海德格所言，是一種為真理解除遮蔽的試煉場，那麼 Sandy 的畫作裡展現了甚麼樣的真理呢？林榮泰教授嘗試將每一幅畫作與詩詞進行連結，探索觀者藉由外形知覺、意義認知、與內在感受等認知模式，對畫中詩意的解碼過程。我想康德（Kant）如果地下有知，一定會為這樣的巧妙研究構思喝采。康德在其《純粹理性批判》一書中，為真理作了一個簡潔有力的定義：真理就是「認知與其對象之一致性」（the agreement of cognition with its object）。林榮泰教授透過實證研究，探討觀者對於畫作認知的程度，並將不同時期與不同認知模式等自變項所形成的差異性，藉由具體的量化數據加以描述、比較、分析，不正是驗證「認知與其對象之一致性」的真理探索嗎？當然，並不是所有的人都認同繪畫是一種符碼的創造，進而將觀賞畫作視為一種解碼的過程。在《真理與方法》一書中，高達美（Gadamer）認為繪畫和符號的區別具有一種本體論（ontology）

的基礎，繪畫的存在價值在於它不是絕對地與其所表現的事物分開，而是參與了其所表現事物的存在。因此，用詩情來描述畫意，是觀者對於畫作透過感知所建立的一種意象，表達了觀者對於作品的觀感，卻也切割了作品與作者之間的關連。 Sandy 的畫作樸拙率真，卓然自成，我寧願將她的作品拋開與詩意的連結，直接去感受作畫人在畫中的身影。特別是 Sandy 幾幅在國外的風景畫，畫中呈現的是景，觸動我心的是創作這些風景圖像的人。林榮泰教授與 Sandy 鶼鰈情深，他們一起奮鬥的過程是臺灣設計教育界的一段佳話。這次林教授為 Sandy 的畫作策展，更以她的作品為對象，設計操作整個實驗研究並彙集成書。對於林教授的研究功力，我自知沒有置喙的餘地，但是 Sandy 的畫作卻著實散發著一種無法言喻的魅力。我不得不想起羅蘭巴特（Barthes, 1981）在其《明室：攝影札記》書中提出了「此即是」（being there）與「此曾在」（having-been-there）的概念，巴特曾經默觀一張母親年幼時的照片，生動寫道：「有生以來第一次，我從不經意而完整的記憶中，尋回了她那生動真實的面貌 …… 我亦是如此追溯一個生命的足跡，不是我的生命，而是我心愛者的生命」。幾次看到 Sandy 在國外的那幾幅風景畫，我心中總是浮現著一幅景象：一位來自臺灣的素人創作者，曾經駐足在畫中所反映的真實的場域之中，以一種對藝術的熱愛與虔誠，運用她初執畫筆的純樸技法，一筆一畫為自己留下生命的記錄。如果我們接受海德格所說的「藝術是真理在作品中的自行置入」，那麼，展現在 Sandy 畫作的真理，也許超越了科學方法所呈現的研究結果。Sandy 用每一幅畫作，為自己的生命歷程刻畫出另一個不

詩情畫意

仙雲之美習作經驗分享

同於既有軌跡的面向，是她創造了這些畫作，也是這些畫作形塑了她。最重要的，在每一張記錄中，我們也看到了身邊那位一路相陪的人。

林伯賢國立臺灣藝術大學研究發展處研發長國立臺灣藝術大學設計學院創意產業設計研究所教授

推薦序 - 因緣際會認識師母是在四年前台藝大的美學課堂上，當時就深深感受到她的細膩與感性，明顯的表現在她的衣著、談吐與為人處事上。師母畫畫，雖然不是科班出身，卻有她獨特的品味、風格，這也正與她本人的特質相呼應，正所謂「畫如其人」。當代藝術的走向，觀眾的參與是非常重要的一環，有了觀眾的介入，成就了作品的完整性；藝術家本身，既是作者也是觀眾，雖然僅是觀眾的一份子，卻也代表了普羅大眾。這回「雲」系列作品，巧妙了結合中國詩的意境與內涵，或呈現於創作之前，或附加於作品完成之後，都為美好的畫作增添了豐富的色彩。師母的畫作 , 在印象寫實中略帶幾分抽象，既具象又非具象，正如我所熟悉的她，腳踏實地，卻又不失浪漫。

吳維平醫師中華民國內科專科醫師 / 中華民國消化系內科專科醫師前部立基隆醫院胃腸肝膽科主任、生理檢查室主任

詩情畫意

仙雲之美習作經驗分享

推薦序 -「詩情畫意」背後的鏗鏘頓挫近日拜讀指導教授林榮泰董事長「詩情畫意」新作，悠然觸動心中一池春水！彷彿仍在昨日，卻已是將近四年前的故事！自己原只是個隨性創作、嗜夢幻想、神閒氣定的設計教育工作者，在進入臺藝創產博班後蹯然蛻變！而如何將繪畫的彩筆轉換為振筆疾書的字字論文，成為自己從不敢奢望的學術發表，更遑論得以完成「詩詞文化設計應用」的博士論文。這個蛻變的過程，猶如天方夜譚，但唯有身歷其境，其中的奧祕與艱辛才得以領略一二。而能完成這項不可能的挑戰與任務，關鍵的引舵手就是本書作者林榮泰董事長（以下稱老師）。在他嚴謹的要求下，除了正式課程、大量的閱讀、評論及寫作學習，都是「心得分享、經驗傳承、知識傳授」的訓練，也是「From data to wisdom」研究過程的驗證。且無論是概念型創意變成可操作的研究、或不用數字研究的前瞻性論文，也都能倍受鞭策鼓勵與肯定認同，並積極地推向國際舞臺，且一次次增強自己的能力與信心。在老師指導下以「詩詞轉化設計」之系列主題，自 2010 至 2015 年間，共計五次獲邀發表於國際重要之 HCI、DRS、KEER 等研討會，發表包含期刊專書論文、中英文研討會論文共計數十篇。且再經老師推薦獲邀在「2015 臺灣文博兩岸四地文創產業對接會議」、「海基會海協會參訪會議」，及亞洲四國基造學會 FCBDA 等，代表臺灣發表「詩詞的文創應用」專題演講，反應熱烈，成功地將詩詞文創經驗推向國際。並多次獲得國際期

刊邀稿與審稿任務，更因此獲得指導「臺藝大優秀學位論文獎」殊榮。由此可知，今日在累積上述成果後，再以師母習畫的動機，到以詩詞為題材的創作過程，探討如何透過「詩情」表意，又如何透過「畫意」寫景，創作詩詞或繪畫；及一般人又如何「心領神會」去認知其「詩情畫意」，並彙整自傳播理論、認知理論，持續作為探討研究的主題方向，深信以老師之真知灼見與棄而不捨之研究精神，定能一如往常，開啟引導原為藝術感性的特質，得以成功轉換為設計理性邏輯思維的研究導向，藉以提昇研究的深度與內涵。此外，也特別感謝共同指導教授林伯賢研發長，讓「詩詞」主題印證余秋雨先生說的：「從事真正的藝術創作，在特定的時代需要成為一名鬥士，此生總算在那麼美好的領域鑽研過並堅持過，實在是人生最大的幸福。」

葉茉俐國立臺灣藝術大學 / 創意產業設計研究所 / 博士醒吾科技大學 / 設計學院 / 院長

詩情畫意

仙雲之美習作經驗分享

推薦序 - 織雲明心在端陽的這一天，寫一段水遊山驛是再適意不過的好日，因為今天也叫詩人節！細細悅讀老師的這一生，只能以神仙眷侶來形容老師與師母二人的美好，稱羡老師也從師母形影相隨的鰜鰈情深而起，老師有著文采的巨匠風流；師母亦顯文雅的智者婉約，桃李不言下自成蹊，老師如百年樹人的教育家，卻輕悄入木於輕世代的我們，影響甚鉅，也因為深受老師研究不倦的感動，我在老師的身邊不即不離的隨思隨行三年，而觀照我們的除了老師，其餘的生活瑣事都是叨煩師母，在老師學術鉅細靡遺的權威下，師母總是雲淡風輕的像親人，扮演行雲流水的體恤！ 2013 年，能第一次能與老師、師母與師公旅夢於花東縱谷，猶記破曉迎曦的「天祥」遊記，那一天清晨有點涼，在雲霧還未褪去的還冬三月，依稀記得老師三人與我談起遠在美國的天才雲端權威兒子，話鋒一轉便討論起關於我回臺藝大重拾博士研究的人生，那一天空氣的味道至今我還記憶猶新，更難忘那一杯溫熱伯爵奶茶彌漫的觀心，一切的愛如九霄雲外翩然而來的美意，也讓平常壯志凌雲的我，當下沈潛沈默到深谷，我感受到除了際會的風雲，更大的是老師對我們的期望，還有希冀我們在文化臺灣的叱咤！當然，在所謂的專業天空裡，天成渾然是重要的，但在素履之往的未知，心美有時候比技巧更重要，我們正處於一個雲端的

互聯世界，很多無法以口語來傳遞的心鏡量化，就反射在數位的運算中質化，透過凝視下的霞紅、影青、柳綠，蕊黃與岩灰，重製了屬於內在感質的姿彩，而唯一與時俱進的善美，都以主觀的意志層次出客觀的時空界面，畫心的建置正好構圖了筆下的誠摯，我也彷彿在師母的畫布裡，再一次的見證了未曾謀面過的老師的孩子，其實那是親子期許天倫的一朵雲，只是有些真感情是再精密的雲端，也無法換算出結果的，那是一衣帶水最遙遠也最近的距離！即將邁入盛夏，與老師求學問剩下的時光，我聽到小綠蟬的淺唱，希望在無雲的這一天，自己也能像老師在學海的無邊裡，一鳴驚人！

陳俊良國立臺灣藝術大學 / 創意產業設計研究所 / 博士候選人自由落體設計公司 / 總經理

詩情畫意

仙雲之美習作經驗分享

感恩與回饋之具體行動本書內容係執行科技部研究專題計畫之一部分，其構想源於教學需要，剛開始只是單純為「研究方法」課程，找一個可以實際操作的案例，以引導學生如何進行相關研究；後來竟演變成一個科技部的專題研究計畫，始料未及。感謝科技部人文司支持之研究計畫 -- 設計思維應用於展覽體驗模式之研究 (MOST 103-2410-H-144 -003 -MY2)。

值此生活美學推展困頓之際，本書之出版乃係眾人智慧之總成，筆者不敢居功。筆者自費印製本書，除作為參與研究實驗者的贈品外，並以具體行動表達對協助完成本書的所有參與者感恩之意。謹將本書獻給本書畫者李仙美女士；並將研究心得與經驗，分享大家。如果您覺得有所獲益並思回饋，請將心意化為具體行動 -- 多參與相關的展覽活動，或購買文化創意相關產品。

詩情畫意

仙雲之美習作經驗分享

1 「詩情」本於「畫意」「詩情畫意」通常用來形容優美的自然景觀，就像詩所描寫的情境與畫所描繪的意境，給人以美好的感受。「詩情畫意」原出自宋 ‧ 周密《清平樂 ‧ 橫玉亭秋倚》詞：「詩情畫意，只在闌桿外，雨露天低生爽氣，一片吳山越水。」其意涵包括具體描繪情境與抽象營造意境；寫景容易，表意較難。誠如清 ‧ 毛祥麟的《墨余錄》：「詩情畫意，尚可言傳，惟此一片深情，當於言外領味。」其中具象的「尚可言傳」與抽象的「言外領味」，正是人們如何感受詩情畫意的重點。例如，「水中撈月」透過寫景所描繪的情境，尚可言傳，甚至溢於言表；但是如何領會李白喝酒之後，伸手撈月亮的意境，就只能「言外領味」。又如，蘇軾的水調歌頭中所描述的「轉朱閣，低綺戶，照無眠。」描寫夜深月沈，月光斜照屋裡，但是屋裡的人卻輾轉難眠，懷念遠方的親人。這個意境容易「言外領味」，因為我們都有失眠經驗；但是藝術家又如何描繪這個情境，恐怕不只是「尚可言傳」這麼簡單。因此，藝術家如何透過「詩情」表意，又如何透過「畫意」寫景，創作詩詞或繪畫；一般人又如何「心領神會」去認知其「詩情畫意」，是一個值得探討研究的問題。就傳播理論而言，藝術家如何「如詩如畫」地表達意境

「詩情」本於「畫意」

與情境，閱聽者又如何去心領神會；是一個編碼與解碼的過程。因此，「詩情畫意」的認知就在編碼與解碼之間。其中，「言外領味」比「尚可言傳」更為複雜；首先，藝術家在編碼過程中，從「詩情」形成到概念化，包括：從詩詞意境建構、訊息提示形成一個情境；到畫作情境構圖和質感表達，最後「畫意」具體化，以達到「詩情畫意」的創作，其編碼是一個複雜的心路歷程。其次，閱聽者經由情境認知和象徵回饋，經由文化背景、經驗、概念模式與刻板印象等，交互作用下產生「尚可言傳」的語意認知，形成對畫作「言外領味」的延伸，其解碼也是一個複雜的認知過程。上述藝術家編碼的創作過程與閱聽者解碼的認知行為，也就是一般所謂的心智模式；其包括：設計模式、使用者模式以及系統印象。設計模式是藝術家心中對「尚可言傳」編碼的概念、使用者模式則是指閱聽者對「言外領味」解碼的認知、系統意象指的是創作的藝術品。理想狀況是透過藝術創作品讓「尚可言傳」和「言外領味」的認知是一致。因此，「詩情畫意」所展現的系統印象就顯得格外重要，因為藝術家必須確定畫作在寫情與寫意的表達恰如其分，在其畫作所營造的背景涵構下，引領閱聽者進入其創作時的情境，讓使用者心領神會達到一致的認知。因此，「詩情畫意」牽涉到傳播理論的編碼與解碼，以及心智模式的語意認知的相關理論，也是一個熱門的研究議題。就認知理論而言，閱聽者去參觀藝術創作相關的展覽，假如事先對展覽的內容沒有足夠的訊息，形成一個概念模

詩情畫意

仙雲之美習作經驗分享

式，就可能發生欣賞或體驗的困難。一個藝術家如何把創作理念經過內在轉化的創作模式，透過美學外在形式來表現作品，再經由策展者的詮釋，讓觀賞者了解該藝術作品的欣賞方式，形成一個藝術家、策展者與觀眾之間的正向交流。一個成功的展覽必須讓觀眾透過展出內容，完成認知的三個過程：（1）情境知覺，觀眾能否看到；（2）意境認知，觀眾能否了解；（3）心理感受，觀眾能否被感動。

「江闊雲低故人歸」的編碼與解碼圖 1-1 筆者拍攝的澎湖海上牧場落日餘輝的景色，圖 1-2 是畫者根據圖 1-1 所畫的作品。原來這幅畫沒有標題，作者想要透過這幅「畫意」展現何種「詩情」，看畫的人就很難去推知，因為不確定的因素太多。但是如果給個標題 -- 江闊雲低故人歸，觀賞人就可以透過標題江闊、雲低、故人歸，去塑造一個情境；進而根據這個情境去推知其意境，最後，形成內心愉悅或憂傷等感受，達到認知這幅畫作要表現什麼的目的，完成認知的三個過程即：（1）情境知覺；（2）意境認知；（3）心理感受。這就是觀賞人根據「畫意」，了解其「詩情」的解碼過程。圖 1-2 是繪畫者習畫的入門作品，把現實的景色再現於畫布，後來筆者鼓勵畫者應該給個標題。畫者就開始思考這幅「畫意」如何給個「詩情」，因為這幅景色是拍攝時，畫者身歷其境，很容易就回想當時在落日餘輝下，漁船滿載魚獲，在落日餘輝的遼闊海域下返航，親人殷殷期盼歸

「詩情」本於「畫意」

來的情境，與蔣捷的《虞美人 ‧ 聽雨》中「江闊雲低」情境吻合，不過沒有「斷雁叫西風」的憂傷。因此，再選取岑參的《陪使君早春西亭送王贊府赴選 ‧ 得歸字》中的「為送故人歸」，給了這幅「畫意」一個「詩情」-- 江闊雲低故人歸。其命名的過程基本上也是經過：情境知覺、意境認知與心理感受的三個過程；也是畫者根據其創作的「畫意」賦予「詩情」的編碼過程。

圖 1-1 澎湖海上牧場落日餘輝

圖 1-2 江闊雲低故人歸

詩情畫意

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虞美人 – 聽雨

蔣捷

少年聽雨歌樓上，紅燭昏羅帳。壯年聽雨客舟中，江闊雲低，斷雁叫西風。而今聽雨僧廬下，鬢已星星也。悲歡離合總無情，一任階前，點滴到天明。

陪使君早春西亭送王贊府赴選（得歸字）岑參西亭繫五馬，為送故人歸。客舍草新出，關門花欲飛。到來逢歲酒，卻去換春衣。吏部應相待，如君才調稀。

在這個認知的過程中，觀眾如何去了解藝術家抽象的「詩情」意境，以及具象的「畫意」情境，而畫作能夠對欣賞者產生情感的影響前，閱聽者需先對畫作的情境與象徵有基本的認知，再透過個人文化背景、生活經驗、概念模式與刻板印象等判斷，最後在情感面發生變化。因此「詩情畫意」的認知值得作系統化的探討，以提供藝術家如何創作「如詩如畫」的繪畫，與觀畫人如何感受、認知「詩情畫意」的參考。

「詩情」本於「畫意」

上述藝術家創作繪畫 ( 編碼 ) 的過程，與觀畫人理解繪畫 ( 解碼 ) 的過程，可以用圖 1-3 來表示。首先現實世界的美景透過藝術家的慧眼，轉換成詩歌、繪畫等不同的藝術形式之前，藝術家除了主觀的創作思維外，也會考慮欣賞者的感受或想像；然後透過不同的藝術媒介，表達創作者的核心思維 ( 編碼 )。欣賞者再根據不同的藝術形式，用自己的思維模式，加上過去的經驗再現創作者的感受，達到感同身受的感動 ( 解碼 )。

圖 1-3 創作者與欣賞者的編碼與解碼

詩情畫意

仙雲之美習作經驗分享

臺灣正進入以文化創意帶動美學經濟的時代，一種生活型態的營造、生活品味的體驗與生活價值的實踐，正透過文化創意經由藝術策展，蔚為風潮。傳統詩詞韻文不但是先人文化智慧的結晶，其衍生應用亦和藝術創作或設計創意相呼應。因此，探討「詩情畫意」如何被認知，牽涉語意認知、傳播理論與心智模式等相關理論。一般畫展透過「策展」的「溝通」活動；讓觀眾對於展覽內容的「認知」沒有鴻「溝」，「傳播」才能暢「通」，達到成功的目的。因此，展覽是傳播藝術家理念的管道，也是幫助觀眾認知「詩情畫意」的媒介，形成傳播達到認知的關鍵。因此，如何策展親人性的展覽，讓觀眾在感性場域中，享受感動體驗，欣賞感質的展覽內容，達到「詩情畫意」的認知，也正是本書論述的主要目的。

「詩情」本於「畫意」

「詩情」本於「畫意」延伸閱讀尋尋覓覓冷冷清清：詩詞文創的源起 ■

最高的藝術表現 ‧ 情感的極致昇華

朱光潛（2003）指出，詩是將「最精妙的觀感」表現於「最精鍊的語言」，這兩種精粹都絕對得來不易，除了是文學最高的境界，也如黑格爾（Hegel）所說：「詩是最高的藝術表現。」且「詩人在剎那間所心領神會的，將獲得超時間性的詩作，使天下後世人能不斷的心領神會。詩人和藝術家都有「設身處地」「體物入微」的本領，所以在研讀其作品的同時，應覺猶如鑽進詩人心中，霎時親自享受其生命之洗禮、領略其情感之昇華。 ■

提供無限想像的情境 ‧ 構成包羅萬象

詩的外在構成有「四維」，外在構成為情理事物是詩世界的「四維」，涵蓋詩的一切題材，窮進萬有的形色聲狀。詩可以抒情、可以說理、可以敘事、可以寫景詠物，這四維正是詩人心靈觸角所生的四個方向。杜國清（2010）表示，詩人的想像力透過感官，將內部世界的精神或感情，投射到外界的相應或相關物，使之與詩人的內部情緒密接混合，而形成一個詩的宇宙，是透過類推（想像力）所構成的想像世界。 ■

經典之作方能流傳千古

詩人內在涵養往往影響作品感動的意境層次，且物的意蘊深淺與人的性格情趣經驗深淺成正比，深人所見於物者亦

詩情畫意

仙雲之美習作經驗分享

深，淺人所見於物者亦淺。葉嘉瑩（1998）認為：「詩人的條件第一是能感之，第二是能寫之。」藝術家內在涵養往往影響作品感動的意境層次。王夢鷗（1976）認為，一個作家會將其美感隱喻於喜怒哀樂的意象中，用語言等記號來傳達；而讀者正是站在相反的角度，從這些語言符號中還原歸納喜怒哀樂的意象，且讀者也在這還原意象的過程中享受美感的體驗。讀詩亦即從事思考，根據文字的暗示而推演出一連串的思考；讀詩亦即從事想像，而在想像中幻見形象。設計者藉由設計作品還原詩詞的美與情感，提供消費者享受美感的體驗（杜國清，2010）。 ■

提供應用技巧的法則

歸納分析前人的詩歌，大凡能化抽象為具象、變理論成圖畫；或將靜態的平面圖像，表現成動態的動作演示；或盡量加強色聲香味觸覺等的輔助描寫，使圖畫形象變為立體生動，能引人親身經歷詩中所寫聲光色澤逼真的世界；又或以修辭上「移就」的技巧，使感官與印象錯綜移屬；又或仗聯想的接引，於瞬間完成「過脈」，使不同的意象意外地琯和等，均可稱為好詩。寫詩以現實為題材，將現實轉化，加以變貌、提煉、加壓、碾碎、修整、雕琢、提升、整形、變速、擴大、縮小、重疊、交叉、抽離、結合、延展、顯現、曝光、隱藏、扭曲、皺折發酵等運用之妙，存乎一心。正可對應基本設計中的美的形式原理中對比、調和、韻律、平衡、比例等的基本原則（呂清夫，

「詩情」本於「畫意」

1993）。設計者的巧思正是藉由這些「將現實轉化為詩」的藝術技巧，轉化為創意的發想源頭。 (摘錄自葉茉俐博士論文 - 「詩詞文化的創意設計」，相關參考文獻文獻，請自行查閱。 http://handle.ncl.edu.tw/11296/ndltd/49028032303924279612)

詩情畫意

仙雲之美習作經驗分享

「畫意」展現「詩情」

詩情畫意是詩詞與繪畫創作追求的目標，其具有以「畫意」體驗「詩情」，以「詩情」豐富「畫意」，相輔相成的特質。而「繪畫」具備將抽象的「詩詞」意境轉化為具象的情境，詩詞與繪畫在表達詩情畫意實有異曲同工之妙。詩詞與繪畫之間的關聯性，詩詞如何成為繪畫創意發想的概念，在中國繪畫美學與形神理論中，已有許多論述。「詩中有畫，畫中有詩」的典故，也呼應「詩情畫意」離不開詩歌的情境和繪畫的意境。畫家藉由詩人作品獲得創作靈感，或詩人在畫家畫作中找到詩意的再現；甚至詩人兼作畫家，或者畫家同時也是詩人，古今中外不乏其人，例如蘇東坡讚美的王維就是一個例證。

「畫意」展現「詩情」

又如德裔美國學者 Frankel(1957) 的相關研究，探討中國與西方之詩詞與畫作之間的關係，也肯定「如詩如畫」 (Poetry is like painting)，或「詩中有畫，畫中有詩」的「詩情畫意」，在東西方的觀點是一致的。就詩詞與畫作轉換之間，在中國可以用蘇東坡的名句：「畫竹必先得成竹在胸」來說明；為了傳達詩詞中竹子的意境，畫家要先在心中揣摩，架構竹子在紙上出現的意境後，再藉由濡墨下筆呈現竹子的情境，最後，在橫斜勾勒點捺，一氣呵成胸中之竹的「詩情畫意」。在西方，可以用達文西 (Leonardo da Vinci, 1452-1519) 的名言來說明：「詩中有畫，欣賞不如感受；畫中有詩，感受不如欣賞。」 (Painting is poetry that is seen rather than felt, and poetry is painting that is felt rather than seen.) 就「詩詞」轉化產品設計分析，筆者曾指導研究生的論文，提出文化創意設計理論架構，依詩詞內在意涵或外在形式，在產品設計的轉化大致可以分為：(1) 以形寫形，以外在實體透過「視覺物象」轉換為「造形質感」的產品屬性； (2) 以形寫神，以中間層次的行為主體，透過「功能操作」轉換為「機能使用」的產品屬性；(3) 得神傳形或寄神出神，以內在心理透過「情感傳達」轉換為「心靈感受」的產品屬性。並進一步探討，藉以架構詩詞轉換設計之具體項目，且根據如何選擇詩詞主題與分析詩詞意涵結構，建構詩詞形神轉換設計模式。同樣的，許多中外學者曾就「詩詞與設計的交集」、「詩詞與設計相似的過程」等相關內容，作過系列的探討與論述，其從詩詞寫作的觀點出發，探討

詩情畫意

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詩詞創作過程中，創意與靈感來源、解決問題的過程及作品的最後修正等議題，探討詩詞與設計的關係。回到「詩情畫意」的內涵與轉化，蘇東坡認為藝術作品，應有出神入化之境界。在「東坡詩話」也進一步評論：「善畫者畫意不畫形，善詩者道意不道名。」其對韓幹畫馬也有深入的看法：「少陵翰墨無形畫，韓幹丹青不語詩。」所以「詩情畫意」的作品，重在言外，貴在傳神，有了這種意境，才可令閱聽者低徊詠歎，感動不已。「詩情」與「畫意」之間似乎存在著某種程度的對應關係，也就是說，在「詩情」中可以找出「畫意」的線索。從記號傳播模式看來，「詩情畫意」乃發生於藝術家的「編碼」(encode) 與閱聽者「解碼」(decode) 的過程中。因此，從閱聽者「解碼」的角度，探討「詩情畫意」的認知，有助於了解藝術家創作的心路歷程。

詩情畫意的傳播模式「詩情畫意」的解讀包含「外延意指 (denotation)」及「內在意涵 (connotation)」兩個層次的認知。「外延意指」討論的是「重在言外」，也就是畫作中符碼與其指稱事物之間的關係。例如，孟浩然的「春曉」：「春眠不覺曉，處處聞啼鳥，夜來風雨聲，花落知多少。」中的「啼鳥」與「花落」就屬於「尚可言傳」的「外延意指」。「內在意涵」討論的則是「貴在傳神」，符碼與其指稱事物，其所具有的屬性或特徵之間的關係。柳宗元「江雪」：「千山鳥飛絕，萬徑人蹤滅。孤舟簑笠翁，獨釣寒江雪。」中的

「畫意」展現「詩情」

「千山」、「萬徑」、「孤舟」與「獨釣」都具有事物的屬性或特徵，其目的在襯托「鳥飛絕，人蹤滅。簑笠翁，寒江雪。」的「內在意涵」。就傳播理論的程序學派而言，「詩情畫意」從藝術家 ( 發訊人 ) 創作藝術品 ( 訊息 ) 到觀眾 ( 收訊人 ) 的傳播過程中，一個成功的傳播必須滿足三個層面：第一個就是技術層面，要讓接受訊息的人，看得到、聽得到、摸得到，甚至感覺得到，也就是藝術家如何透過藝術作品，精確地傳達其企圖傳送的訊息。第二個就是語意層面，要讓接受訊息的人了解訊息的意義，不會產生曲解、誤解或甚至不了解，也就是如何讓閱聽者了解訊息所要表達的原意。第三個就是效果層面，如何讓接受訊息的人，根據訊息的原意，採取正確的行動，也就是如何有效地影響預期行為。就傳播理論的符號學派而言，一個透過符號系統成功表達的藝術作品必須達成以下三項功能：(1) 表意作用 (signification)：畫作可以表達某種意義，也就是藝術家的意圖，確實可以透過其藝術作品表達出來。(2) 表現作用 (expression)：藝術作品可以代表藝術家的思想與感情，也就是透過藝術作品，可以再現藝術家的思想與感情；(3) 傳達作用 (communication)：表意、表現作用的結果，可以傳送到閱聽者或觀眾，也就是當藝術家與觀眾同樣的了解

詩情畫意

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藝術作品，所要傳達的「詩情畫意」時，才算完成「如詩如畫」的溝通。國外學者研究提出一個成功的傳播模式，必須具備六個因素，如圖 2-1 所示，分別是 : (1) 發訊者 (Addresser)，在傳達過程中，發訊者將訊息編碼並傳送給收訊者，本研究中的發訊者為藝術家；(2) 收訊者 (Addressee)，指訊息傳送的目標或特定的對象，本研究收訊者指的是觀眾；(3) 情境 (Context)，傳送的訊息必須架構在參考背景才能形成具體的意義，這些參考背景稱之為情境。本研究的情境指的是藝術品的創作背景；(4) 訊息 (Message)，訊息是由符號表徵化的語言基因所組成，根據特定符碼結構來編碼資訊，再透過收訊者的解碼過程才能產生意義並了解意涵。本研究中的訊息指的是創作理念，藝術家透過構圖、技法等手法將創作理念進行「編碼」形成訊息；(5) 接觸 (Contact)，又稱為管道或媒體，指可以傳送訊息的物理設備或工具，並用來建立發訊者和收訊者間的關係，本研究中的接觸指的是藝術品本身；(6) 符碼 (Code)，符碼是一種有組織、可理解的資訊系統，而且發訊者和收訊者間須具有共同的符碼系統且都認識這個符碼才能進行。符碼指的是藝術品中包含的元素、構圖組成或藝術家所採用的技法等。另外，在傳播過程中此六個因素分別有其對應功能，包括：(1) 發訊者因素對應之情感功能 (Emotive)，描述藝術家與閱聽者之間的關係；(2) 收訊者因素對應之

「畫意」展現「詩情」

圖 2-1 詩情畫意傳播模式的六個因素與六個功能

企圖功能 (Conative)，藝術家欲對閱聽者所產生的效果； (3) 情境因素對應之指涉功能 (Referential)，探究藝術作品指涉的真正意義；(4) 訊息因素對應之詩意功能 (Poetic)，藝術作品本身的美學表達；(5) 接觸因素對應之社交功能 (Phatic)，用來傳達藝術作品所使用的媒介；(6) 符碼因素對應之超語言功能 (Metalingual)，用來確認溝通所使用的符碼系統。由此六個因素與六個功能所組成的傳播模式，如圖 2-1 上半部所示。近年來人因工程強調以「使用者為中心」，其設計理念隨著人因工程的發展而受到重視。我們每天使用許多功能複

詩情畫意

仙雲之美習作經驗分享

雜的科技產品，輕鬆愉快，應付自如；那是因為我們對這些產品已經形成一個熟悉的概念模式 (conceptual model)。人們對於不熟悉的事物，可以經由經驗、學習、訓練或教導而形成心智模式 (mental model)。過去藝術創作多以藝術家為中心，通常忽略了以欣賞者或觀眾為考量，如就詩情畫意的表達而言，探討欣賞者或觀眾的心智模式，有助藝術家表達「如詩如畫」的藝術作品。就設計與創作的角度來看，概念模式與心智模式是一體兩面；因此，本文將國外學者諾曼的三類心理概念模式改為：藝術家模式、閱聽者模式以及藝術作品，如圖 2-1 下半部所示。據此，圖 2-1 的藝術家模式是指藝術家心中對繪畫作品的概念，閱聽者模式是指觀眾或閱聽者認知繪畫作品的外在美學與內在意涵的過程。理想的狀況是藝術家模式與閱聽者模式一致，因此，藝術作品就顯得格外重要，因為藝術家必須確定所要表達藝術作品的詩情畫意，在適當的背景涵構下，透過與閱聽者熟悉的語言或符號有一致的認知。閱聽者為中心的藝術創作原則，其重點就是希望藝術家能夠根據共同經驗的心智模式，並經由藝術作品表達出來；讓閱聽者經由藝術作品，加以認知、詮釋與評估並感同身受，把「詩情畫意」的情境與意境，變成「如詩如畫」具體的藝術作品。根據圖 2-1 詩情畫意傳播模式，來解讀畫者如何把圖 2-2 的「綠草映白雲」實景，經由創作思維轉換成具象的「碧雲天芳草無情」的畫作，以及把圖 2-3「晴空現浮雲」的實景轉換成抽象的「大風起兮雲飛揚」畫作，經由一定的

「畫意」展現「詩情」

步驟所引導，能更清楚理解實景與畫作之間的關係。更進一步可以了解畫者如何透過畫意的「綠草映白雲」，來展現「碧雲天芳草無情」的詩情。同樣的，如何把圖 2-3 的「晴空現浮雲」的實景，轉換成抽象的「大風起兮雲飛揚」畫作，雖然更複雜但總是有個思維的根據，有助於搭起藝術創作與美學欣賞之間的橋樑。

圖 2-2「綠草映白雲」的實景對照「碧雲天芳草無情」的畫作

詩情畫意

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圖 2-3「晴空現浮雲」的實景對照「大風起兮雲飛揚」的畫作

「畫意」展現「詩情」

「畫意」展現「詩情」延伸閱讀上窮碧落下黃泉 ─ 轉化設計的理論詩詞轉化設計的理論整理自中國繪畫的美學基礎而來，蔡玲婉（2010）創作的藝術是一種轉換的過程，思想、觀念、觀察轉換為感覺、感受、心境。如何將創作素材轉化為藝術品，這個點化或轉化的過程，亦即詩人心靈的運用，而運用之妙，永遠是創作的奧秘。轉化為創作的能量的議題，在古代詩話中時有所提，如宋代面對唐詩的輝煌盛極難繼，詩學標榜新變。黃庭堅提出奪胎換骨法：「詩意無窮，而人才有限，以有限之才，追無窮之意，雖淵明、少陵不得工也。不易其意而造其語，謂之換骨法；窺入其意而形容之，謂之奪胎法。」釋惠洪（1997）換骨法是意同語異，將前人詩意，以自己的語言出之；奪胎法是點取古人詩句，借用前人詩意，改為自己作品。宋代文人在詩文革新上，倡導以故為新、奪胎換骨、點鐵成金，以師古為革新，藉模仿求新創，極具「創新的智慧」，其新創是在前人的基礎上加以吸收、轉化的創意思維。 ■ 中國繪畫的美學基礎西方藝術評論家萊辛（1766）曾指出：繪畫是運用在空間中的形狀和顏色，詩是運用在時間中明確發出的聲音。北宋蘇軾（約 1037~1101）曾提到：「味摩詰之詩，詩中有畫；觀摩詰之畫，畫中有詩」、「詩畫本一律，天工與清新。」郭熙（1975）在《林泉高致 ‧ 畫意》中亦認為：「詩是無形畫，畫是有形詩。」皆說明中國詩詞與繪畫的緊密關係。

詩情畫意

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由於中國的書畫不僅工具相同，操作時又有諸多雷同之處，而畫家本人常也擅長書法，作畫時便不自覺地以書入畫，以書寫款或題字在畫面上，講究與畫面所形成的協調與美感，因此以書入畫，成為畫中必不可少的部分，也構成中國畫的另一種形式美。而題字的內容也需與畫面有着內在的聯繫，讓觀畫者透過題字見景生情、抒發胸懷。或者引導觀畫者以畫為橋樑另拓天地，感念歷史的浩蕩或人生的哲理。因此詩與畫的結合也是隨着書與畫的結合而出現。而詩畫兩門藝術各有其長處，結合二者更能截長補短。畫表現的事物直觀、具體、真實、便於領略，但受限於時間與空間，只能選取某一瞬間的靜止狀態；而詩則不受時空間的限制，描寫事物可選擇任何時間、任何地點而發展變化，所謂上天下地、古往今來、東西南北自由馳騁。而將詩與畫結合，可使靜止的畫面更活躍，畫面的容量更寬廣。而詩也因此有了形象的憑藉、想像的依託，如此詩與畫的結合將使二者交相生輝。詩詞以文字為象意媒介，而詩的美典乃來自於意的形構，且詩人注重「情」與「景」，但更關心「意」與「境」。繪畫是以筆、墨作為其象意的媒介，而中國詩歌和繪畫所運用的象意媒介，雖有文字及筆、墨的不同，詩畫藝術創作者，透過文字、筆墨以詩詞、繪畫的形式來表現抒寫心中之意（李百容，2005）。詩與畫自古即有密切的關聯性，《世說新語》曾論及顧愷之提及「模榻妙法」時，說明繪畫的用筆是充分表達「全想」的關鍵之處。實際上即是如

「畫意」展現「詩情」

何將「遷想妙得」的結果實際表現於畫面的歷程。令人意識到具備「遷想全其想」特質的「詩詞文化」，除具有表達想像與情感的重要功能，是否也可運用於實際具體的設計實踐。董崇選（1993）指出，凡是創作皆有二階段，稱為「得意」與「用筆」之階段，而「意在筆先」實為定則。所謂「意在筆先」，「意」不僅在先，也是創作之主；「筆」不僅在後，也是創作之從。先在內心之感觸發思、成意為志，終在將其所感所思，其意念心志，透過溝通工具媒體表達出來。以鄭板橋（1982：頁 24）畫竹時所描述的心境轉折，可說明藝術家在「構思立意」到「落筆運墨」的歷程，與將心情寫照透過書法詩詞至創作設計作品的歷程。 (摘錄自葉茉俐博士論文 - 「詩詞文化的創意設計」，相關參考文獻文獻，請自行查閱。 http://handle.ncl.edu.tw/11296/ndltd/49028032303924279612)

詩情畫意

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「詩情」溢於「畫意」

假如把楓橋夜泊的詩詞，用大家了解的語言來描述其詩情畫意，就是一個解碼的過程。同樣的一個畫家如何將詩詞轉換成一幅詩情畫意的畫作；就是一個編碼的過程。畫家可能跟詩人一樣以景寫情的方式，選取月落、烏啼、江楓、漁火等具象的景物作為背景，利用時遠時近的構圖，營造或動或靜的情境；如再配以冷暖有致的色彩，建構如畫如詩的畫面，表達詩情畫意幽美的意境。比較困難的是如何讓閱聽者認知到「夜半鐘聲」，從「姑蘇城外」的「寒山寺」飄「到客船」的意境，進而感受到鐘聲迴盪在漫漫長夜中，詩人在餘音裊裊下「聽無眠」，並隨手創造了一個「詩中有畫，畫中有詩」的旅愁之境。

「詩情」溢於「畫意」

詩情畫意的認知模式感受上述「楓橋夜泊」的「詩情畫意」，其牽涉因素既多且雜；閱聽者如何經由其「詩情畫意」的認知，感受到詩人所營造的「詩中有畫，畫中有詩」的旅愁之境，就如圖 1-3 的創作與解讀過程，因人而異。運用圖 2-1 的傳播理論並結合前述概念模式與認知工程觀點，整理成「詩情畫意」的認知模式，如圖 3-1 所示。圖 3-1 上半部為概念模式，也就是圖 2-1 中的情境因素 ( 指涉功能 )，從認知工程的觀點來看，可進一步細分為外形知覺 ( 閱聽者能否看到 )、意義認知 ( 閱聽者能否了解 ) 與內在感受 ( 閱聽者能否感動 ) 等三個層次。茲以前述唐朝張繼的「楓橋夜泊」：「月落烏啼霜滿天，江楓漁火對愁眠。姑蘇城外寒山寺，夜半鐘聲到客船。」為例說明：第一層次的「外形知覺」主要是詩人如何利用寫景，首句的「月落」與「烏啼」，透過所見與所聞；第二句的「江楓」與「漁火」，描寫景物與情境。架構一幅情境朦朧靜謐，景色幽美的秋夜圖，讓閱聽者能夠透過五感知覺的情境，成功地向閱聽者傳達「詩情畫意」的相關訊息。第二層次的「意義認知」主要利用前面所建構的情境，理解作者所要傳達的意境。例如，第一句經由所見的月落與所聞的烏啼，引導對「霜滿天」的有感；第二句所描繪楓橋附近「江楓」與「漁火」的景色，期待閱聽者理解詩人

詩情畫意

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的愁寂心情。也就是如何讓閱聽者精確地認知訊息原意，透過閱聽者與詩人所共有的經驗，經由詩人所營造夜泊楓橋的景象，理解詩人感受的詩；這是意義認知的「語意層面」問題。第三層次的「內在感受」主要是閱聽者經由前面兩個階段的認知，充分理解詩人的用意後而感同身受。例如：單獨看第三句與第四句「姑蘇城外寒山寺，夜半鐘聲到客船。」很難感受詩人的心境，必須架構在前面兩句的情境下，才能完整的傳達詩人所要表達的詩情畫意。因此，如何透過如詩如畫的情境，提供閱聽者足夠的線索，才能有效的影響閱聽者的「內在感受」，正是圖 3-1 詩情畫意認知模式關心的問題。

圖 3-1 詩情畫意的認知模式

「詩情」溢於「畫意」

如針對圖 3-1 下半部來說明，就傳播理論而言，一件成功的藝術作品傳達的「詩情畫意」內涵必須滿足三個層面，如同呼應上半部的三個層次：第一為外形知覺的技術層面，等同於圖 2-1 的訊息因素，意指藝術家的情感透過技術層面形成訊息，換句話說，藝術家如何運用技法、構圖、用色等手段精確地編碼並傳達其創作理念；其次為意義認知的語意層面，如同圖 2-1 的符碼因素，藝術家與閱聽者共用同一套符碼系統，閱聽者能夠正確無誤的將訊息解碼，了解訊息原意，也就是閱聽者觀看後能夠了解藝術家所欲傳達的創作理念；第三為內在感受的效果層面，為圖 3-1 接觸因素之引伸，藝術作品如何有效地影響閱聽者的行為與情感，意即閱聽者能否體會藝術家所表達的情感進而衷心感動。一般藝術創作相關研究，比較關心構圖用色醒目與否，能不能吸引閱聽者等外觀的因素，也就是第一技術層面的問題。第二個語意層面與第三個效果層面則較少有人作深入的探討。

詩情畫意

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「詩情」溢於「畫意」

「詩情」溢於「畫意」延伸閱讀衣帶漸寬終不悔：轉化設計的模式 ■

詩詞轉化設計的階段與步驟

1. 抽象概念視覺化為概念運思階段，運用觀察、聯想、想像等方式，選擇適用詩文，觸發感官知能，將心中的概念意象加以描述呈現。抽象概念想像過程依滕守堯（1997）提出的「知覺想像」（Perceptive imagination）與「創造想像」（Creative imagination），所謂「知覺想像」是指在個人的情感模式和結構呼喚之下，接觸到某個知覺對象，引起某些過往的記憶形象自然地湧現。並經過心靈的加工冶鍊之後，形成一個新形象的過程，這個新形象和知覺對象特質內容具有相似之處，在所創造的形象氛圍上也和原有對象聯繫著。而「詩詞文字」到「視覺」形象部分，吳金盛等（2008）在文字到心像過程說明，「學習以過去的知識經驗為基礎，腦中所儲存的抽象概念，都會成為日後理解新訊息的詮釋基礎。將文字轉換為心像過程中，學習者會根據其既有的圖像經驗作產出。 Beggs 和 Sikich（1984）研究發現若要心像間產生豐富的互動，則配對字詞必須產生關連。例如黑板與鉛筆，若能結合教室的背景脈絡，則會有助於記憶，這些關連性線索稱之為心智線索（The mental-cuing），具有可聯想（Associability）、雙向聯結（Bidirectionality

詩情畫意

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of associations）、建構性（Constructibility）及可辨性（Discriminability）等特性（Bellezza, 1996）。Douville （1976,2004）提出感覺活化模式（Sensory Activation Model, SAM），透過學生各個感官使其產生更精緻化的心像，他認為多數的心像教學只是要求學生在腦中看到一張圖像，這種單一的教學型態，忽視了心像不只有視覺型態，還有聽覺的、味覺的、嗅覺的、觸覺的與感覺的型態。這種多感官的圖像（multisensory images）不只與真實的圖像一致而且更精緻化。也證實此模式可以幫助學生心像的產生，同時促進閱讀與寫作的成效。而詩詞重視主觀體驗感受，因此放大感官、強化體驗更形重要，也將能達到活化感官的效果（林雪鈴，2007）。岳修平（2005）指出，強化學生的圖像化記憶能力時，概念構圖（Mind map），對於無法產生心像的抽象知識，可以利用自己的想像力產生圖像，文字的閱讀通常只擷取關鍵字或概念再自行組裝，圖像亦同；Paivio（1971）的研究發現，語文項目的記憶如果以心像的方式收錄，則其記憶的效果遠優於以語文方式收錄所得的結果。此外若能同時使用心像（Imagery）和語文表徵（Verbal representation）兩種不同的編碼方式來表徵同一資料，可以有較多的方法從記憶中找到所需的訊息。其後，Paivio （1986）提出雙碼理論說明存在腦中的記憶，其訊息的表徵方式會以語言（Verbal）和視覺（Visual）的方式表示，其中心像系統處理與儲存的是較為具體的訊息。

「詩情」溢於「畫意」

詩詞轉化設計應用亦能運用前述學習的具體應用方式，提供在「抽象概念視覺化」時，有更多提取創意的參考路徑，並藉由感官的觀察、聯想、想像等方式，經由了解詩詞的主題背景、關鍵意涵，強化詩詞「抽象概念視覺化」的階段意義。詩詞的形成背景與主題意涵將影響其內容發展與設計轉換的方向，無論是外在的文化環境因素，如思潮的形成、文學素材的改變、宗教因素的影響、地域美景的領會、詩歌技法的拓展（包含寫作的風格）、文人逞才的心理等。或內在的個人因素，如家風的陶冶（包含文采風流的相承、經史典籍的博覽、才藝美學的培養、清談論辯的習練等）、習性的導向（包含愛美的天性、情深山水的嗜好、藝術家的性格養成）、前賢的啟迪等各面向的剖析（李百容， 2005），均可瞭解詩的形成背景。而其他如沉藏於詩人潛意識的狂傲與理想、現實受阻與懷才不遇的感慨、諷喻政教迷信荒誕與憂國思君的情志、家國與隱世兩種思致的內在交錯跌宕、以及晚年尋求精神自由解脫、嚮往宗法的禪佛境界等，均可顯露詩中畫物之神韻，也有著詩人主觀情志的投影（劉明昌，2007）。 2. 視覺元素具象化將前階段所分析的「關鍵意涵」與「意象元素」，依據各類詩詞類型的轉化指標，轉換意象為色彩質感造形之 2D 或 3D 的視覺化與具象化表現，成為設計基本的元素語彙，

詩情畫意

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並選擇其特徵性，聚焦為具體的實物設計，以增進主客關係及強化心物聯繫。Robert (1980) 在 Experience in Visual Thinking 指出，視覺的意象有三種，「知覺意象」是感官對物質世界的經驗，也就是透過眼睛看到並記錄在腦中的經驗；「心靈意象」為腦中想像組合的圖像，需要運用知覺的意象記錄資料；「圖表式意象」則是用塗鴉素描繪畫，或者以可以溝通的書寫狀態記錄。這三種產生視覺意象的途徑，正是設計思考必備的過程，且透過不斷的回饋過程產生新意象。由此得知，觀看、想像、繪圖為視覺思考的三要素，是在每種新意象產生時必有醞釀的程序，也是轉化的必經過程。藉此將詩詞文化的概念元素，經由想像繪製為視覺化元素，利用 Stoops（1983）在書中所歸納了創造新意象的策略中，粹取詩詞文化的相關視覺元素，透過意象的細節、變更與改造或簡化造形特徵等方式加以視覺具象化。分析詩詞應用的個案類型中，在「視覺元素具象化」階段，也將因選用類型之不同，有部分執行細節之差異與特色表現。如「詩詞形神形式」除分析探討詩詞關鍵意象，決定歸類為具象「形」或抽象「神」之形態類別，推衍成為色彩、質感、造形之 2D 或 3D 的視覺表現，轉化作為以「形」寫形、以「形」寫神、得「神」傳形或寄「神」出神的等四類的轉化指標。「詩詞時空形式」則是分析詩詞空間組合結構、時間形態層次、時空運動變化，等相關內容探討，推衍相關運動色彩質感造形之視覺情境表現要素，轉化為

「詩情」溢於「畫意」

時空轉位、時空分設、時空交感、時空溶合等四類的指標。「詩詞色彩形式」則是分析色彩語言是表達狀態、形態空間的、感覺情緒或是屬於心靈審美的表現狀態，推衍成為設計元素 2D 或 3D 的視覺表現，藉以轉化為以色貌色、以色顯形、隨色賦情或藉色生境等的轉化指標。「詩詞語義形式」，則藉由分析詩詞中圖式特徵「字」義、詩「詞」意象置換及詩境「句型」表現等建立設計轉化的指標。「詩詞六觀形式」，則藉由「位體」、「通變」、「奇正」、「事義」、「宮商」「置辭」等造形型態結構、設計之原則依循、情感寓意創新、材料質感色彩、動態情境氛圍及關鍵屬性等的指標。 3. 具象設計生活化第三階段「具象設計生活化」，在此階段強調啟動詩性思維，運用交互心像產生並綜合融會貫通成為各種生活設計的創造動力，突破理性的限制與發展，強化設計元素具體的表現成果，與確立預期之設計類別屬性，歷經設計的細部修正定案，完成詩詞設計創作的轉換。使詩詞的產品設計得以充分詮釋詩人的情感，除考量現實層面的使用便利、功能操作、外型結構等要素等條件，並實際地運用於生活中。舉凡所用（使用）、所看（欣賞）及所感（體驗）的生活用品，都能因設計而享受更多的愉悅性，以全面提升生活的品質，且讓設計的文化傳統，延續紮根於生活中，實踐

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設計生活化的目標。人性設計的概念已經普遍應用在生活產品設計中，如何應用創新的設計思考，經由掌握科技賦予人性，結合科技與人性是設計未來的趨勢（林榮泰， 2010）。Caldwell（2012）在 Designing emotion -- bringing experience to life 一文，配合感質商品的設計原則，整理幫助使用者發現情感的幾種方式，包括保留餘地激發想像、營造情境豐富體驗、注入人性感性科技、思古幽情再現風華、聯結虛實活化傳統、體驗生活深化情感等原則。林逸筑、陳杏綺、梁容輝（2012）的研究中，鼓勵使用者於生活脈絡中進行自我反思的互動體驗。並表示「詩意」是一種極為抽象的概念，為了驗證此詩意經驗的影響，使用內隱聯結測試方法（Implicit Association Test），以測量與評估參與者內隱態度的改變狀態。研究結果顯示透過詩意設計的互動體驗，確實能改變或提升使用者初期對於物件與詩意聯結的既定印象，且相較於初期的「功能性」連結，參與者亦普遍提升日常生活物件的「聯想性」連結。換言之，設計師憑著創作靈感進行每一項設計概念時，此靈感可能來自一個簡單或平凡的生活經驗或概念，透過多次反覆的設計發想，將其轉化成詩意表達式後，此轉化的設計核心，即被留白用以提供體驗、投入與反思，這將會是最扣人心弦的部份。最終期望能因感受詩詞情感轉化設計的實務應用與美學體驗，且扎根傳統文化創意於現代生活設計領域。

「詩情」溢於「畫意」

(摘錄自葉茉俐博士論文 - 「詩詞文化的創意設計」，相關參考文獻文獻，請自行查閱。 http://handle.ncl.edu.tw/11296/ndltd/49028032303924279612)

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「畫意」超越「詩情」

本書旨在說明探討閱聽者如何認知藝術家繪畫創作的抽象「詩情」意境與具象「畫意」情境，本研究以習畫五年的素人畫者李仙美女士之畫作，選取其中 21 幅與 21 個相關詩詞作為畫作標題，21 幅畫的選取涵蓋畫作完成時間、畫作內容與畫作之詩詞命名等三大部分。就畫作完成時間而言，可以分為初期、中期與近期三個階段；Sandy2008 年開始學畫，初期 (2008-2009) 由筆者請臺藝大的研究生指導入門；中期 (2009-2012) 加入畫室，與一群同好相互切磋，適時由畫室老師指點作畫；近期則指 2013 年以後根據特定主題的自我創作。就畫作內容而言，初期之畫作內容，皆以風景畫為主。近期畫作分為兩大類，一是以雲

「畫意」超越「詩情」

為主題的自由創作，其靈感或來自雲的千變萬化或風情萬千；一是以特定的詩詞為主題的創作，Sandy 被要求利用 Michel (1999) 於其論文 --「將詩詞轉換為畫作：一個視覺化的實驗」中所介紹的方法，也就是視覺構圖 (illustration)、語意翻譯 (interpretation) 與內在反應 (reaction) 等三個過程，根據選定的詩詞創作。最後，就畫作的命名，初期的 9 幅風景畫，係由作者依畫作內容直接以適當的詩詞命名；其餘 12 幅畫作是 Sandy 根據特定詩詞所進行的創作，因此以該詩詞作為畫作的名稱。21 幅畫作樣本與其相對之詩詞標題，如表 4-1 所示。表 4-1 21 幅畫作與其詩詞標題

A. 江闊雲低故人歸 (1)

B. 雲日相輝映萬里 (2)

C. 天上浮雲似白衣 (3)

D. 白雲深處有人家 (4)

E. 白雲千載空悠悠 (5)

F. 晴空萬里雲滿天 (6)

G. 朝雲春樹溪水流 (7)

H. 連雲疊屋景無限 (8)

I. 碧雲天芳草無情 (9)

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J. 大風起兮雲飛揚 (10)

K. 天光雲彩共徘徊 (11)

L. 雲想衣裳花想容 (12)

M. 雲破月來花弄影 (13)

N. 去似朝雲無覓處 (14)

O. 雲雨巫山露凝香 (15)

P. 鴻雁在雲魚在水 (16)

Q. 來時淡春衣上雲 (17)

R. 坐看山窮雲起時 (18)

S. 嬌雲春鶯容易飛 (19)

T. 朝辭白帝彩雲間 (20)

U. 行雲有影月含羞 (21)

「畫意」超越「詩情」

江闊雲低故人歸 The wide river was dappled with lowing clouds, where an old friend of mine is returning.

《虞美人 - 聽雨》宋 ‧ 蔣捷少年聽雨歌樓上，紅燭昏羅帳。壯年聽雨客舟中，江闊雲低，斷雁叫西風。而今聽雨僧廬下，鬢已星星也。悲歡離合總無情，一任階前，點滴到天明。

詩情畫意

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《裴使君早春西亭送王贊府赴選 - 得歸字》唐 ‧ 岑參西亭繫五馬，為送故人歸。客舍草新出，關門花欲飛。到來逢歲酒，卻去換春衣。吏部應相待，如君才調稀。

【詩情】「江闊雲低故人歸」來自「虞美人 ‧ 聽雨」的「江闊雲低，斷雁叫西風」( 宋 ‧ 蔣捷 )，以及「陪使君早春西亭送王贊府赴選」的「西亭繫五馬，為送故人歸」 ( 唐 ‧ 岑參 )。營造至親舊識，身處空曠江面，於夕陽西下時，歸航之景象。

【畫意】（1）情境知覺：落日餘輝，遼闊海域，漁船徐返航。（2）意境認知：滿船魚獲，故人隨船，喜見親人歸。（3）心理感受：殷殷期盼，親人歸來，再敘天倫樂。

「畫意」超越「詩情」

雲日相輝映萬里 The cloud and the sun reflect each other in the boundless glory.

《登江中孤嶼》南朝 ‧ 謝靈運江南倦歷覽。江北曠周旋。懷新道轉迥。尋異景不延。亂流趨孤嶼。孤嶼媚中川。雲日相輝映。空水共澄鮮。表靈物莫賞。蘊真誰為傳。想象昆山姿。緬邈區中緣。始信安期術。得盡養生年。

詩情畫意

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《嘉泰普燈錄》卷十八宋 ‧ 雷庵正受千山同一月，萬戶盡皆春。千江有水千江月，萬里無雲萬里天。

【詩情】「雲日相輝映萬里」來自「登江中孤嶼」的「雲日相輝映，空水共澄鮮」( 南朝 ‧ 謝靈運 )，與「嘉泰普燈錄」的「千江有水千江月，萬里無雲萬里天」( 宋 ‧ 雷庵正受 )。營造海藍美景，澄澈如洗，融入水天共色，雲日相互輝映，展現自然造化的情境。

【畫意】（1）情境知覺：清澈水面，映照閃耀，雲影映日光。（2）意境認知：孤立小島，一望無際，天光混水色。（3）心理感受：水天共色，心境平和，景緻表心境。

「畫意」超越「詩情」

天上浮雲似白衣 The clouds in the sky look just like white gowns.

《可歎詩》唐 ‧ 杜甫天上浮雲如白衣，斯須改變如蒼狗。古往今來共一時，人生萬事無不有。近者抉眼去其夫，河東女兒身姓柳。丈夫正色動引經，酆城客子王季友。群書萬卷常暗誦，孝經一通看在手。貧窮老瘦家賣屐，好事就之為攜酒。豫章太守高帝孫，引為賓客敬頗久。聞道三年未曾語，小心恐懼閉其口。

詩情畫意

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【詩情】「天上浮雲似白衣」來自「可歎詩」的「天上浮雲似白衣，斯須改變如蒼狗」( 唐 ‧ 杜甫 )。營造之意境係世事多變，景緻瞬息，人事無常。

【畫意】（1）情境知覺：天色澄淨，白雲如衣，瞬息更萬變。（2）意境認知：景緻千變，浮雲萬千，人事亦無常。（3）心理感受：瞬息萬變，人事無常，蒼狗如白雲。

「畫意」超越「詩情」

白雲深處有人家 Deep in the clouded mountain was a hamlet.

《山行》唐 ‧ 杜牧遠上寒山石徑斜，白雲深處有人家，停車坐愛楓林晚，霜葉紅於二月花。

詩情畫意

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【詩情】「白雲深處有人家」來自「山行」的「遠上寒山石徑斜，白雲深處有人家」( 唐 ‧ 杜牧 ) 。其意境在描述高山深處有戶人家深居在那繚繞的白雲之間。

【畫意】（1）情境知覺：雲霧繚繞，深山獨戶，離群尋獨居。（2）意境認知：深居簡出，簞食瓢飲，怡然自然得。（3）心理感受：白雲深處，與世無爭，帝力奈我何。

「畫意」超越「詩情」

白雲千載空悠悠 The clouds hold the eternal empty skies.

《黃鶴樓》唐 ‧ 崔顥昔人已乘黃鶴去，此地空余黃鶴樓。黃鶴一去不復返，白雲千載空悠悠。晴川歷歷漢陽樹，芳草萋萋鸚鵡洲。日暮鄉關何處是 ? 煙波江上使人愁。

詩情畫意

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【詩情】「白雲千載空悠悠」來自「黃鶴樓」的「黃鶴一去不復返，白雲千載空悠悠」( 唐 ‧ 崔顥 ) 。其意境展現登高望遠，千年亙古，白雲依舊，悠閒自在。

【畫意】（1）情境知覺：遠眺江水，白雲如常，悠悠地飄著。（2）意境認知：視野遼闊，景物依舊，人事已全非。（3）心理感受：遙望景色，思鄉情懷，心有戚戚焉。

「畫意」超越「詩情」

晴空萬里雲滿天 Crystal sky is full of clouds.

《晴空萬里》洪榮宏晴空萬里白雲滿天，清風吹身邊；引我想起故鄉春天時，啊 … 故鄉春天時；櫻花滿山送來香味，美麗好景緻；離開已經有五年，憂悶心空虛可愛的伴侶；叫我倒返去，叫我倒返去 !!

詩情畫意

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【詩情】「晴空萬里雲滿天」是唯一取材自現代台語歌謠的情境，由台語歌手洪榮宏唱出：在一個晴空萬里白雲滿天，櫻花滿山好景緻的日子，思念情人，引發思鄉情切，興起不如歸去，返鄉之念頭。

【畫意】（1）情境知覺：晴空萬里，滿天白雲，思鄉添情切。（2）意境認知：天際蒼茫，景緻秀麗，懷念舊情人。（3）心理感受：故鄉春天，見景思情，嘆不如歸去。

「畫意」超越「詩情」

朝雲春樹溪水流 Morning clouds and spring trees accompany the rolling steam.

《巫山高》卷 251-3 唐 ‧ 劉方平楚國巫山秀，清猿日夜啼。萬重春樹合，十二碧峰齊。峽出朝雲下，江來暮雨西。陽臺歸路直，不畏向家迷。歲寒三友相聚首，飛雪瀰漫溪水流；偶聞山泉瀑布聲，一杯清茶敬好友。

詩情畫意

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【詩情】「朝雲春樹溪水流」的意境取自「巫山高」的「萬重春樹合 … 峽出朝雲下 … 飛雪瀰漫溪水流 …」( 唐 ‧ 劉方平 )。描述春日早晨溪流潺潺，白雲伴隨，重重花開，溪旁樹影，展現生機。

【畫意】（1）情境知覺：早春清晨，白雲淡淡，小溪襯綠樹。（2）意境認知：春回大地，萬物生機，花團托錦簇。（3）心理感受：晴天朗朗，大地新生，悠閒映生活。

「畫意」超越「詩情」

連雲疊屋景無限 With the running clouds the seemingly stacked cottages, the scenery reaches the borderless.

《古風》其二十四唐 ‧ 李白大車揚飛塵，亭午暗阡陌。中貴多黃金，連雲開甲宅。路逢鬥雞者，冠蓋何輝赫。鼻息干虹蜺，行人皆怵惕。世無洗耳翁，誰知堯與跖！

詩情畫意

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《永遇樂》北宋 ‧ 蘇軾明月如霜，好風如水，清景無限。曲港跳魚，圓荷瀉露，寂寞無人見。紞如三鼓，鏗然一葉，黯黯夢云驚斷。夜茫茫、重尋無處，覺來小園行遍。

【詩情】「連雲疊屋景無限」的意境取自「古風」的「連雲開甲宅 …」( 唐 ‧ 李白 ) 與「永遇樂」的「清景無限 …」 ( 北宋 ‧ 蘇軾 )。其意境主要描述屋舍層疊，遠達天際，景色無限美好。

【畫意】（1）情境知覺：屋舍層疊，連天浮雲，無限地延伸。（2）意境認知：美好聚落，安和樂利，富足生活樂。（3）心理感受：景色如畫，知足常樂，太平共盛世。

「畫意」超越「詩情」

碧雲天芳草無情 As the sky is clear and bright, the grass brings on my sorrow and sadness.

《蘇幕遮》北宋 ‧ 范仲淹  碧雲天，黃葉地，秋色連波，波上寒煙翠。山映斜陽天接水，芳草無情，更在斜陽外。黯鄉魂，追旅思，夜夜除非，好夢留人睡。明月樓高休獨倚，酒入愁腸，化作相思淚。

詩情畫意

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【詩情】「碧雲天芳草無情」的意境取自「蘇幕遮」的「碧雲天，黃葉地 … 芳草無情，更在斜陽外 …」( 北宋 ‧ 范仲淹 )。其意境主要描述天空飄著清秋的雲朵，引人思念遠方的親人，無情芳草處處生長，無邊無際，綿綿不絕，象徵思念不斷。

【畫意】（1）情境知覺：雲朵滿天，青草不絕，雲草共青天。（2）意境認知：微涼初秋，芳草綿綿，旅人故鄉情。（3）心理感受：懷念故鄉，黯然傷悲，心頭繞鄉愁。

「畫意」超越「詩情」

10 大風起兮雲飛揚 The wind blew and rolled up the clouds filling the sky.

《大風歌》漢 ‧ 劉邦   大風起兮雲飛揚，威加海內兮歸故鄉，安得猛士兮守四方！

詩情畫意

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【詩情】「大風起兮雲飛揚」的意境取自「大風歌」的「大風起兮雲飛揚，威加海內兮歸故鄉 …」( 漢 ‧ 劉邦 )。其情境主要描述大風捲起濃雲，漫天飛揚，呈現一種唯我獨尊的傲氣。

【畫意】（1）情境知覺：巨風起勢，大地塵動，濃雲動滿天。（2）意境認知：風起雲湧，群雄競逐，時勢造英雄。（3）心理感受：得意自滿，興奮莫名，內心藏悲恐。

「畫意」超越「詩情」

11 天光雲彩共徘徊 Reflected sunlight and cloud shadow lingered over and over.

《活水亭觀書有感》南宋 ‧ 朱熹  半畝方塘一鑑開，天光雲影共徘徊，問渠那得清如許，為有源頭活水來。

詩情畫意

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【詩情】「天光雲影共徘徊」的意境取自「活水亭觀書有感」的「半畝方塘一鑑開，天光雲影共徘徊 …」( 南宋 ‧ 朱熹 )。其意境係描述水塘如同一面反射的鏡子，天光和雲彩的影子，倒映在開展的水面並浮動蕩漾著。

【畫意】（1）情境知覺：天光雲彩，光雲倒影，清澈水蕩漾。（2）意境認知：明淨清澈，水塘反射，心境如止水。（3）心理感受：推究事物，豁然開朗，心靈怡然得。

「畫意」超越「詩情」

12 雲想衣裳花想容 Clouds inspired dresses as flowers prompted faces.

《清平調》唐 ‧ 李白  雲想衣裳花想容，春風拂檻露華濃。若非群玉山頭見，會向瑤台月下逢。

詩情畫意

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【詩情】「雲想衣裳花想容」的意境取自「清平調」的「雲想衣裳花想容，春風拂檻露華濃 …」( 唐 ‧ 李白 )。其情境描述飄逸的雲彩，如同輕盈的衣裳，美麗的花朵，如同女子姣好的容顏。

【畫意】（1）情境知覺：雲彩飄逸，五彩繽紛，並置且交錯。（2）意境認知：雲見衣裳，花想容貌，人花共錦簇。（3）心理感受：思念情人，見雲見花，皆憶其容貌。

「畫意」超越「詩情」

13 雲破月來花弄影 Moonlight burst from the clouds dancing with the shadow of the flowers.

《天仙子》宋 ‧ 張先水調數聲持酒聽，午醉醒來愁未醒。送春春去幾時回？臨晚鏡，傷流景，往事後期空記省。沙上並禽池上暝，雲破月來花弄影。重重簾幕密遮燈，風不定，人初靜，明日落紅應滿徑。

詩情畫意

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【詩情】「雲破月來花弄影」的意境取自「天仙子」的「沙上並禽池上暝，雲破月來花弄影 …」( 宋 ‧ 張先 )。主要意境描述微風吹拂，月亮穿破雲層而浮雲飄散，即將凋殘的花朵也輕盈搖曳自己在水面上的影子，彷彿在搔首弄姿。

【畫意】（1）情境知覺：月透雲層，色彩繽紛，花朵映水面。（2）意境認知：浮雲自散，花孤月單，花影獨搖曳。（3）心理感受：自比花月，獨自弄影，孤獨又自憐。

「畫意」超越「詩情」

14 去似朝雲無覓處 It was gone with the dawn clouds.

《花非花》唐 ‧ 白居易花非花，霧非霧；夜半來，天明去；來如春夢幾多時？去似朝雲無覓處。

詩情畫意

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【詩情】「去似朝雲無覓處」的意境取自「花非花」的「來如春夢幾多時？去似朝雲無覓處」( 唐 ‧ 白居易 )。其意境主要描述一種像花又像霧的東西，像早晨的雲叫人迷戀，一轉眼，不知飄散在何處。

【畫意】（1）情境知覺：天上雲霞，隨風飄散，人物難追念。（2）意境認知：雲彩短暫，景緻無常，人事易流逝。（3）心理感受：非花非霧，夜半天明，幻滅無蹤影。

「畫意」超越「詩情」

15 雲雨巫山露凝香 The mountain was covered with cloud and dew impearling the peonies with aroma.

《清平調》二唐 ‧ 李白  一枝濃艷露凝香，雲雨巫山枉斷腸。借問漢宮誰得似，可憐飛燕倚新粧。

詩情畫意

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【詩情】「雲雨巫山露凝香」的意境取自「清平調」的「一枝濃艷露凝香，雲雨巫山枉斷腸」( 唐 ‧ 李白 )。其意境主要描述那興雲降雨的巫山女子，如同一朵妖豔的花朵在朝露中散發濃烈芳香。

【畫意】（1）情境知覺：人如花朵，難掩鮮艷，濃郁自散香。（2）意境認知：花露凝香，雲雨交錯，天雷勾地火。（3）心理感受：蠢蠢欲動，巫山雲雨，一發難收拾。

「畫意」超越「詩情」

16 鴻雁在雲魚在水 Wild geese fly in the cloud high while twin carps wander in the water deep.

《清平樂》北宋 ‧ 晏殊   紅箋小字，說盡平生意。鴻雁在雲魚在水，惆悵此情難寄。斜陽獨倚西樓，遙山恰對簾鉤。人面不知何處，綠波依舊東流。

詩情畫意

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【詩情】「鴻雁在雲魚在水」的意境取自「清平樂」的「鴻雁在雲魚在水，惆悵此情難寄」( 北宋 ‧ 晏殊 )。其情境主要描述雁兒在雲間飛翔，魚兒在水中遨遊，魚雁都能傳情，自由自在。

【畫意】（1）情境知覺：雁飛雲端，魚游水中，飛翔並悠游。（2）意境認知：雲間水中，互傳訊息，寄情訴衷曲。（3）心理感受：心中情意，不如魚雁，惆悵難寄情。

「畫意」超越「詩情」

17 來時淡春衣上雲 A fair lady is stepping down from the clouds in spring.

《醉垂鞭》宋 ‧ 張先雙蝶繡羅裙，東池宴、初相見。朱粉不深勻，閒花淡淡春。細看諸處好，人人道、柳腰身。昨日亂山昏，來時衣上雲。

詩情畫意

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【詩情】「來時淡春衣上雲」的意境取自「醉垂鞭」的「閒花淡淡春 … 來時衣上雲 …」( 宋 ‧ 張先 )。其意境主要描述女子來臨，恰如一朵野花，恬淡而幽雅，就像沐浴著芳香的春色，衣服上還像帶著浮動的白雲。

【畫意】（1）情境知覺：春花清香，白雲環繞，春花衣上雲。（2）意境認知：花淡春閒，氣息幽雅，恬淡漫雲層。（3）心理感受：浴春美女，引人遐思，相間亂山昏。

「畫意」超越「詩情」

18 坐看山窮雲起時 Endless mountains were linked with lifting clouds.

《終南別業》唐 ‧ 王維中歲頗好道，晚家南山垂。興來每獨往，勝事空自知。行到水窮處，坐看雲起時。偶然值林叟，談笑無還期。

詩情畫意

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【詩情】「坐看山窮雲起時」的意境取自「終南別業」的「行到水窮處，坐看雲起時」( 唐 ‧ 王維 )。其意境主要描述在山的盡頭坐下來，觀看雲霧升起時，怡然自得，談笑風生。

【畫意】（1）情境知覺：隨興而行，仰望浮雲，悠閒山盡頭。（2）意境認知：陷入絕境，放下得失，柳暗花自明。（3）心理感受：心境閒適，隨遇而安，談笑雲起時。

「畫意」超越「詩情」

19 嬌雲春鶯容易飛 Adorable clouds and spring birds are gone and away.

《生查子》宋 ‧ 張先含羞整翠鬟，得意頻相顧。雁柱十三絃，一一春鶯語。嬌雲容易飛，夢斷知何處。深院鎖黃昏，陣陣芭蕉雨。

詩情畫意

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【詩情】「嬌雲春鶯容易飛」的意境取自「生查子」的「一一春鶯語。嬌雲容易飛 …」( 宋 ‧ 張先 )，其意境主要描述箏聲婉轉如黃鶯的啼叫，曲終人散，宛如飛雲飄散而去。

【畫意】（1）情境知覺：美妙箏聲，韻律婉轉，曲終如飛雲。（2）意境認知：美女彈箏，箏聲流暢，雲飄終霧散。（3）心理感受：美女心曲，箏聲訴情，惆悵無蹤影。

「畫意」超越「詩情」

20 朝辭白帝彩雲間 I set out with a farewell to Bai-Di Town glittered with morning clouds.

《下江陵》唐．李白朝辭白帝彩雲間，千里江陵一日還。兩岸猿聲啼不住，輕舟已過萬重山。

詩情畫意

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【詩情】「朝辭白帝彩雲間」的意境取自「下江陵」的「朝辭白帝彩雲間，千里江陵一日還 …」( 唐．李白 )。其情境主要描述在五彩雲霧飄散的早晨辭別白帝城。

【畫意】（1）情境知覺：曙光初燦，舟離白帝，輕舟行水上。（2）意境認知：雲彩繽紛，雲霧飄散，告別白帝城。（3）心理感受：朝辭白帝，輕快自在，輕鬆歡樂行。

「畫意」超越「詩情」

21 行雲有影月含羞 Floating clouds blurred the bashful moon.

《浣溪沙》宋 ‧ 吳文英門隔花深舊夢遊，夕陽無語燕歸愁，玉纖香動小簾鉤。落絮無聲春墮淚，行雲有影月含羞，東風臨夜冷於秋。

詩情畫意

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【詩情】「行雲有影月含羞」來自「浣溪沙」的「… 行雲有影月含羞，東風臨夜冷於秋」( 宋 ‧ 吳文英 ) 。其意境在描述夜空漂浮移動的雲影遮住了月光，彷彿月亮含著羞容。

【畫意】（1）情境知覺：行雲漂浮，薄雲月前，欲行猶掩面。（2）意境認知：門隔花深，夕陽無語，勞燕紛歸愁。（3）心理感受：雲月含羞，夜冷於秋，離別話悲戚。

「畫意」超越「詩情」

「畫意」超越「詩情」延伸閱讀驀然回首燈火闌珊處：設計應用的案例魏晉南北朝諸多美學藝術的理論觀點，均是中國美學史發展極具重要關鍵的論述。該時期藝術美學理論中，常將語言與繪畫這兩種皆具備傳神議題的藝術形式，在操作過程中作相互對照與應用，以達到兩者精進內涵及技藝表現的目的。其中，東晉顧愷之（約 344~405）憑藉著人物品鑒中的「寄形以出神」，及援引人物品鑒語言「擬象取譬、引譬連類」的設喻，而有人物畫「傳神」對話情境的設計。宗炳所謂「以形寫形、以色貌色」的山水畫，則期望應合於「以玄對山水」、「以形媚道」等「道在形中」的認識，而非強調客觀寫實的表現，最終傳達「遠」、「大」、「無」等同具「存現」與「隱沒」的美感形態。而明朝王微（約 1597~1647）所謂「以形融靈」的山水畫，則援引書法的「筆勢」與「點畫」談論繪畫的用筆傳神，進而凝聚「望秋雲，神飛揚，臨春風，思浩蕩」的美感形態。至謝赫所謂「氣韻生動」，實則由「心、物、媒材」從「不磨合」走向「磨合」的過程，結合「客體對象形式 -- 心 -- 表現形式」、「內涵 -- 形式」的完整磨合，最終所展現的美感境界（童明昌，2006）。由此可知無論「傳神寫照」、「以形寫神」、「以形媚道」、「暢神」、「以形融靈」、「氣韻生動」、「骨法用筆」等「形神議題」，於中國美學發展史上，無論書畫詩詞均有相關「形神」之辯，且均具有其代表性與指標性的重要內涵。

詩情畫意

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實作案例，應用類型形式的指標轉化，包括分析詩詞關鍵意涵之意象元素，決定為具象「形」或抽象「神」之形態類別。有 1.「以形寫形」、2.「以形寫神」、3.「得神傳形」及 4.「寄神出神」四類型： 1. 以形寫形案例「以形寫形」即是以具象（形）詩傳達具象（形）物。劉勰《文心雕龍》描寫景物期能「窮形而盡相」、或者「指事造形、窮情寫物」，皆指出書畫論中「巧構形似」實體描寫技法之重要性，以便傳達鮮明生動的藝術形象。如：李煜〈虞美人〉「春花秋月何時了，往事知多少？小樓昨夜又東風，故國不堪回首月明中。雕欄玉砌應猶在，只是朱顏改。問君能有幾多愁，恰似一江春水向東流。」詩人竭力將美景與悲情，往昔與當今，景物與人事的對比融為一體，尤其是通過自然的永恆和人事的滄桑的強烈對比，把蘊蓄於胸中的悲愁、悔恨曲折有致地傾瀉出來。 2. 以形寫神「以形寫神」即是透過具象詩意涵（形），傳達抽象設計概念（神）。辛棄疾詞《青玉案》:「眾裡尋他千百度，驀然回首，那人卻在燈火闌珊處」。詩詞的內容分析，乃說明古今以來成大事、做大學問的，總會經過三種艱苦的境界，詩描述所見的外境，實際則為內在心境寫照之第三個境界，詩中疊聚出連綿不絕的多重意境，層層疊疊交融所呈現的詩境，為否極泰來之最佳寫照了詩詞意涵

「畫意」超越「詩情」

結構分析部分以「眾裡尋他千百度」為主要轉換「關鍵意涵」，其形神意象分析擷取詩中關鍵詞彙意象「燈火、他、那人」，分析其為具象寫實外在形體，即為以「形」寫神的詩詞案例。 3. 得神傳形「得神傳形」即是抽象概念飄渺的詩詞意境（神），透過適當的設計轉換，以具象實體的產品（形）表達。李澤厚、劉綱紀（1999）認為：不易言傳的抽象性人物風神可藉由具體的山、松、風等視覺意象來顯現；也由於這種語言形式的多重性界定，使得對象人物風神在概念飄渺中仍保有超越性的形上聯想。由此得知具象實體的產品，透過適當設計轉換，也能表達概念飄渺之心境。超越其外觀形式、技巧之形體，了解其內在精神、本質與涵意。藉由「神托載於形」的特殊認識而追求形似，但已非是單純再現之客體形式美。范仲淹在詞作〈漁家傲〉主題選擇上，「濁酒一杯家萬里，燕然未勒歸無計，羌管悠悠霜滿地。人不寐，將軍白髮征夫淚。」其敘述景中有情，而情中有景。 4. 寄神出神「寄神出神」即是抽象概念的詩詞意境（神），透過形神形式應用的設計轉換，以抽象設計實踐（神）傳達。雖不能用確定的名言概念把無限說出來，但卻能夠通過藝術的語言，引起比語言所說出的更多無盡的感受，從而使人們在內心的情感體驗中趨向和接近於無限」（李澤厚；劉剛

詩情畫意

仙雲之美習作經驗分享

紀，1999）。以抽象體驗無限，無疑是形而上物我交融、渾成一體最高的藝術境界，也是「寄神出神」最艱深卻又最不可思議曼妙之處。此設計運用是抽象概念之詩詞意境（神），透過適當的設計轉換，以抽象設計實踐（神）傳達的形神類型。高友工（2004）認為，中國藝術精神的最高理想是「傳神」，「傳神」指藝術家在創作中掌握對象具有審美價值的個性特徵，賦予概括、提煉且描寫出對象生動而鮮明的神態情狀，傳達出對象內在的精神，即為「藝術表現的形神關係」。提供設計者在設計過程中，運用於詩詞內涵及設計實踐形態的分析參考，有助於設計抽象概念的具體化。且該時期藝術美學理論中，常將語言與繪畫這兩種皆具備傳神議題的藝術形式，在操作過程中作相互對照與應用，以達到兩者精進內涵及技藝表現的目的。 (摘錄自葉茉俐博士論文 - 「詩詞文化的創意設計」，相關參考文獻文獻，請自行查閱。 http://handle.ncl.edu.tw/11296/ndltd/49028032303924279612)

「畫意」超越「詩情」

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「仙雲之美」的「詩情畫意」結語本書的畫作都是 Sandy 的作品，一位從事會計與國際貿易的工作者，退休後，習畫的目的只是打發時間，當作是休閒興趣之一。Sandy 開始習畫，到嘗試自己創作的過程，是一個值得探討的個案。因此，筆者以本書的 21 幅畫為題材，探討詩詞標題與畫作內容相關的詩情畫意認知，得

到一些相關的結論，提供給正在學畫或準備把繪畫當作休閒的讀者參考。就詩詞與畫作匹配認知而言，詩詞與畫作之間如果沒有足夠的資訊，提供給觀賞人做配對認知的參考時，會影響配對認知的正確率。例如 : 詩詞 (14) 的「去似朝雲無覓處」，除了「朝雲」是具象的參考物以外，其他都是抽象的情境，觀賞人只能據此自我想像。具象畫作比抽象畫作容易作匹配認知；例如，畫作 (G) 與詩詞 (7) 的「朝雲、春樹、溪水流」都出現在畫作 (G) 中，提供觀賞人配對認知的參考情境。就「詩情畫意」契合度而言，主要在探討詩詞與畫作的內在意義 (connotation) 與外在形式 (denotation) 的關係，相關資料顯示在景物契合度明顯的高於情意契合度。可能的原因是景物係具象的外在形式，其認知比情意的內在意義較單純。至於觀賞人如何根據詩詞描述詩情的內在意義，選擇畫作「景物 ( 畫意 )」的外在形式，值得進一步探討。 5 「仙雲之美」的「詩情畫意」

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就「詩情畫意」的認知而言，「詩詞無題」雖是無題卻是有意。因為閱聽者可以透過語意，循著既定的提示，重建作者表達的情境與物境。「畫作有名」則提供閱聽者參考依據，避免完全「存乎一心」的自由發揮。

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迴響歲月會成就生活的詩篇徐啟賢國立臺灣藝術大學 / 創意產業設計研究所 / 博士國立臺東專科學校 / 文化創意設計科 / 助理教授

林榮泰老師畢業於明志工專工業設計科，林老師們這一輩所謂的「明志人」，成長於臺灣刻苦的環境中，歷經臺灣經濟起飛的大時代，這一群「明志人」後來成為臺灣設計教育的推動及實踐者。我也畢業於明志工專工業設計科，而我們這一輩學生的學習過程，其實是跟著大學長們一路探索學習設計而來。林老師與師母對明志工專，永遠留存一份深厚的情感，雖然當年明志的風采，已經不復記憶了。回想學習設計的過程，一幕幕像是昨天才剛發生過。1993 年，林老師從美國取得博士學位回臺，擔任明志工專工業設計科主任，旋即調任長庚大學，創設工業設計學系；1996 年，被委以明志工專校長重任，1999 年，帶領明志邁入技術學院的行列；2002 年，又被調任長庚技術學院校長。2004 年，轉任國立臺灣藝術大學，並於 2007 年擔任設計學院院長，首開藝術大學設立創意產業設計研究所博士班。這段時間筆者從明志工專，到明志技術學院，考進長庚大學工業設計研究所，並有幸進入臺藝大創意產業設計研究所，完成博士學位。林老師都是我的指導老師，求學路上幾乎都有林老師和師母的身影。師母世居泰山，常提起小時候她最常嬉戲的地方，就是明志工專優

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美的校園。師母與明志工專也特別有緣，師母的哥哥是明志工專第四屆機械科畢業校友，她與林老師也相識於明志工專，成家於明志工專，小師兄林之平也成長於明志工專。老師擔任明志校長期間，在校園裡總會看見師母等老師打完球後，兩人一起漫步校園，或找個清靜處輕輕靠著併坐。研究生每週固定的討論時間，師母都會細心準備好滿滿的一大盤水果，並不時招呼我們不要客氣的吃完水果，師母也總是會讓我們和他們倆吃個晚餐，豪氣的說要我們放心，她賺得比老師還多；師母和老師連在國外參加研討會時，也都會傍晚早上穿著互相搭配的衣服出門散步；師母在學生無助的時候，也總會適時的給予關心，或者是好好的唸罵一頓。師母總稱職的扮演林老師幕後的幫手與推手，陪伴著老師忙碌奔波大半輩子；最近幾年，師母終於可以獨享老師陪伴相處的快樂時光，林老師雖然不威而嚴，卻有著天生的感性與帶有職業性的研究理性。師母習畫出於興趣，開玩笑說：連退休習畫，都要被老師拿來研究一番，可見林老師的理性總是凌駕其感性。林老師對師母的創作，常有建言，師母透露：偶爾會因老師建言過度而有些小爭執，但無損相濡以沫大半輩子的感情。問世上何者為美，經過歲月的歷練為美，讓生命容光煥發為詩，一如師母此時的境界。

詩畫出生活情感的饗宴林美婷國立臺灣藝術大學 / 創意產業設計研究所 / 博士候選人

2011 年，進入臺藝大創產所，印象中林榮泰老師是一位態度嚴肅且治學嚴謹的學者，而師母是一位溫柔婉約、笑容可掬的女士。在同

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學邀約下，去過老師家幾次，一進門映入眼簾是以蒙德里安的抽象繪畫，轉換為設計元素的室內空間；從電視櫃、沙發，餐桌到書櫃等，無一不是蒙德里安風格的再現。而牆上掛著的卻是由師母所創作的一幅幅油畫，對照於抽象風格的寫實風景畫作，儼然是準備與大師 PK 的小型畫展。才體會到原來「設計來自於生活」的當下，「藝術為心靈帶來豐富」的文化，正是老師家的寫照。幾年下來，才發現原來嚴肅只是榮泰老師的表象，其感性的內心，才是學生們共同的感受。老師總是說：師母說他太嚴肅不夠溫柔。但同學們都知道，夕陽西下時，牽著師母的小手在秘密花園裡散步，是老師每天重要的行程。因此，「詩情畫意」正是老師與師母的生活小品的寫照。「詩情畫意」裡，除了浪漫也充滿老師對師母創作上的支持，亦展現師母在繪畫創作上的靈感與堅持，對應詩詞之美，型塑出「仙」境般的「美」妙。「詩」是一門歷史悠久藝術、「畫」是一種對於情感或事物表達。從感性的詩轉化成繪畫創作的過程中，透過理性的知覺認知研究，由發訊者到收訊者間產生的感受關係，讓參與的我們在研究上有了更多的學習經驗；因此，在「詩情畫意」裡，可以對應老師在課堂上經常說的一句話：你看到了嗎 ? 了解了嗎 ? 感動了嗎 ? 如果說「詩情畫意」是一篇情感的表達，那麼老師在序中，從過去成長點滴到成家立業，到生活過程的陳述，絕對是這世上少有的浪漫與溫柔。如果說「詩情畫意」是一篇學術研究，那麼由一位教授

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帶領十多位博士生，所共同參與的議題，亦值得再加探究。我看到了。我了解了。我感動了。

素人當道，俯拾皆美陳璽敬國立臺灣藝術大學 / 創意產業設計研究所 / 博士候選人

臺灣，素人當道的時代已來臨！在政治圈有柯 P 旋風，在廣告界有全聯先生，在歌唱選秀節目有小胖等素人明星，這些原來默默無聲的一群素人們，憑藉著興趣與執著，卻是當下最能觸動人心，感動人群的主流。用圖像溝通是人類與生俱來的天賦，就此每個人都有能力提筆，畫出生活中，所看到的、所感覺到的景象，進而享受繪畫樂趣。本書的作畫者雖然沒有科班的藝術相關背景，反而讓畫作少了技巧的堆砌，多了一份純真的情感。由於畫者係筆者指導教授的夫人，因此習慣以師母相稱，師母學商卻因緣際會，得以在美國進修獲得學位，師母常以自身努力不懈學習英文的經驗，鼓勵因需用英文報告研究內容而感到膽怯的筆者。另外，由於師母細心觀察，熱心牽線以促成筆者婚姻大事等特質，再再顯示師母雖然習畫時間不長，雖沒有精煉的技巧，其繪畫作品卻散發出一股兼具誠懇與浪漫的生活美學。本書將傳播理論及認知模式應用於繪畫創作中，探討成功的藝術品需經由創作者及閱聽者的完美配合。一者藝術家須能夠運用美學涵養、創作技巧等能力，準確地將創作理念編碼並呈現於作品中；二

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者觀眾能夠運用背景知識、個人觀點等資源，正確將作品解碼進而了解創作理念。除了作品本身表達創作理念之外，作品名稱亦可作為創作者與觀賞者之間傳遞訊息的橋樑。文學理論家羅蘭 ‧ 巴特 (Roland Barthes) 說：「文本誕生，作者已死」，雖指作品完成後，詮釋的權力在觀賞者手上，但其實作品名稱如同創作者的低語，隨畫作影響著觀者思考的方向。以個人過去觀賞畫作的經驗，習慣先瀏覽畫作，從中尋找可供辨識的人事物，稍後查閱作品名稱，嘗試了解作者的原意。這過程中常發現作品名稱無法完全表達畫意，甚至以 “ 無題 ” 命之，令觀賞者摸不著頭緒，無法深入體會畫作意涵。作品名稱應有畫龍點睛之妙，點出作品的意涵，提供思考的線索，想像的方向，也如同作者透過標題向觀賞者說明畫作的意義。內行人可從畫作本身了解作者表達的門道，若能透過適切的作品名稱讓外行人心神領會，湊湊熱鬧，不僅不會讓畫作發生曲高和寡，知音難尋的感嘆，反而能獲得雅俗共賞，普天共友的快意。而用詩詞作為作品名堪稱絕妙，詩詞具有言簡意賅，寓意深遠的特性，短短數字即可表達敘事、述景與抒情的意涵，非常適合乘載繪畫所要傳達的抽象情感，引領觀賞者進入畫作的境界，引發其情感及共鳴。另一方面，讓人同感興趣的是作者與師母對於畫作的創作與命名的互動過程，但此部分書中較少著墨。針對某詩詞來進行創作的方式應與以往不同，不知師母對於這種方式的看法感受是如何 ? 是一開始就全盤接受或是作者運用了一些技巧或手段，讓師母了解、理解、進而接受而且願意配合。另外，將詩詞情意轉換成畫作意象的過程中，是否遭遇問題、困難或挫折 ? 作者與師母如何共同克服 ? 畫作完成後，師母是否滿意 ? 本書若能增加作者與師母在習作過程中的

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對話及插曲，不只增添風趣，更能讓讀者清楚了解素人畫家將詩情轉化成畫意的過程。最後令人掛念的是 Jimmy 著作的封面是否採用母親的畫作呢 ?

神仙美眷的證明簡秋薇國立臺灣藝術大學 / 創意產業設計研究所 / 博士候選人

[ 神仙美眷真的存在，我的指導教授賢伉儷就是 !] 雖然此言嚐起來似乎微酸，但絕對有說服力並可證明，因為本書就是證據。科技愈進步，知識的前瞻性越強，人類的原始冒險特性就愈沒有用武之地。科技嚴謹的理論，限制了人性本該浪漫感性的詩情畫意；研究方法的標準程序，綑綁了人類冒險犯難的本性，現有研究定律提示了什麼可以研究，且該以何種面貌呈現，澆熄了人類內心狂放的探索樂趣。在師母對於生命熱情洋溢之感染下，林教授在經歷過生命中很重要的科學研究訓練後，與師母感性浪漫的交會，所激盪延伸出來的生命軌跡，讓林教授的學術生涯轉彎到台藝大創產所，開始涉入工程師未能充分掌控的感性議題，探索人與人之間溝通傳達的意義。發展出對於難以言喻之語意認知相關研究，為了堅持這個理念，林教授以驚人的精力與毅力，一步一步到達各個原本不被看好的非典型研究，慢慢地描繪出愈來愈清晰的文化創意的藍圖。

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身為林教授的學生是幸福的。我相信師母的畫作對於老師研究的起心動念，有如靈光乍現般的引導，這又是一個研究趨勢的激盪。繪畫是人類藝術的經典流傳，不受時光的限制，把不同年代產生的人類經驗與智慧，傳承給現代的我們。林老師賢伉儷生命中第一部攜手合作的真實成果，除了展現詩情畫意這種幸福感的渲染力，與研究的理性能力外，讓我目眩神迷並引頸期盼續集不斷。

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詩以言志 ‧ 畫以寄情 - 品味素人畫作新美學林育如國立臺灣藝術大學 / 創意產業設計研究所 / 博士候選人台北海洋技術學院 / 視覺傳達設計系 / 助理教授

2011 年的夏日，在高雄好漢玩字節聆聽名師說漢字，恩師林榮泰教授在台上的演講鏗鏘有力，著實讓閱聽的觀眾感受到漢字的力與美。在精采的講座結束後，初次見到師母，印象中師母流露著慈悲開懷的笑容，親切的問候與鼓勵備感窩心。師母的溫柔如同畫作中的雲朵，其優雅柔美的氣質，散發如詩如畫一般的美感。本書論述更是傳遞老師對師母用意至深、用情至厚的豐沛深情表達。品 ─ 詩情之曠遠隨著詩人的「詩情」，借助詩人思緒騰飛的翅膀，天馬行空般馳騁想像，創造出另一種素人藝術的境界。詩情之寓意，實與虛相互滲透，有與無穿越間，體現一種勵志並以美冶情的感受。師母的心思細膩，從開始習畫到嘗試創作，家中牆面一幅幅的畫作強烈且明朗，色彩及活躍筆觸，在作品中表露無遺，就如同聆聽一首首作者心靈的詩吟，以詩詞對應畫作的詩情畫意，透過心神領會尋找藏於自己潛意識中的那份美感。味 ─ 畫意之習近繪畫是靈魂裡不可或缺的感動，是生命活動的紀錄，也是抒發情感的一種方式。透過畫作在自然中探尋靈魂之所在，獲得美感的再現，使心靈與精神得到寄託。自古以來，文人在詩創作中常賦予自然景物以人的行動性格，生命及思想感情，使自然景物反映出人和社會

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的生活美，這就是美學所稱的「移情作用」。師母與老師彼此交流，藉由繪畫的嘗試與探索，作品蘊含另一層意義而喚起觀眾的情感共鳴，讓觀眾自行解讀圖像與進行想像，進而感染觀眾的情緒。閱讀本書，體會到創作者透過感官敏銳且開放的去接收外界的訊息，這些訊息經過「咀嚼」後，又轉換成畫作釋出。藉「景」生「情」，又寓「情」於「景」，這樣「情」「景」交織的過程，使創作者激盪出優美的作品。詩情畫意是種「置入」的觀念，藉由既有物件的檢視、拆解，萃取出一個「線索」作為滲入的依據，運用這種手法，作品將具有易親近、易感染的氛圍。林教授在書中提及現今是一個注重美感的時代，美感會產生愉悅，並觸動人們內心追求美感體驗的需求，生活中體驗與觀察多了，美感也能隨之養成。所以從師母素人學畫的經驗談，深深地給予後進一個學習的指標，創造出屬於自己風格的生活美學。

詩情畫意，論文傳情 - 教授向太太表達愛意的方式林恩宇國立臺灣藝術大學 / 工藝設計學系 / 碩士

初聞老師要利用師母的畫作編撰成一篇論述時，驚訝老師之古板之餘，實在覺得有點好笑，原來一位學者向太太表達愛意的方式竟是如此的「研究」，不是鑽石恆久遠的價值，也不是路長情更長的承諾，而是如此異乎尋常別出心裁的「論文」。體現愛情的方式有很多種，而華人又擅於用情入詞，化愛為詩，但我想用有板有眼、言之有物的「研究論文」來傾訴，到目前為止，絕對只有老師這一人了，可能空前，呵呵！

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沒想到情感設計能如此發揮 ? 猶記得老師和享譽全球的認知心理學家 Donald Norman 頗有交情，源自 Norman 曾因欣賞老師的研究，而透過 Email 跨海讚揚，並搭起交流的橋樑；而老師也特別推崇 Norman 對於情感設計 Emotional Design 的看法，只是沒想到這樣推崇的心情，竟也能投射在師母的畫作上。筆者突發奇想，奇想出於畫作；畫作點上畫意，畫意撩動情緒；情緒轉化情感，情感觸動人心。兩兩竟相呼應得如此巧奪天工，配合的天衣無縫，正可謂是情感設計的最高境界啊！算計詩情還能顯現出畫意嗎 ? 過去，常看到畫作的題目是：無題，無題隨著觀者的心而變。落日夕陽的餘暉，是待故人歸的期待心情，是滿懷傷感的落寞心境，也是朝朝向榮的希望心願；那麼，畫者當初究竟為何而畫？亦是，畫者本身就是想利用無題畫作來激發觀者的聯想力，引人遐想。而一幅有題之畫，是否又真能傳達畫者之意，誠如本文作者所言，詩情表意，畫意寫景，觀者如何「言外領味」去認知詩情，又如何「尚可言傳」去了解畫意，如此算計詩情還能顯現出畫意嗎？的確是一個值得探討研究的問題，且看本文作者如何抽絲剝繭吧 !

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附錄一 The Study of Match Degree Evaluation between Poetry and Paint Si-Jing Chen, Chih-Long Lin and Rungtai Lin National Taiwan University of Arts

Abstract This study aims to explore which exhibit titles named by the exhibits’ creator and the curator from the viewer’s point of view can make the audience more easily understand the desired messages conveyed by the exhibits, to further explore the cognitive differences among the curator, creators, and audience. For now, a total of 254 subjects (63 males and 191 females) were participated in the pilot study. Their mean age is 19.98 years old. 10 oil paintings about “cloud” theme which collecting from one artist were used as study samples. 5 paintings were the curator proposed a poem as the title; the other 5 paintings were named by the artist herself. The fit assessment of each painting included three questions in the questionnaire: Question 1 explored the degree of fit between poetry and paintings. Question 2 and Question 3 explored the degree of fit between poetry and “affection” and “scene” of the paintings. The results showed that the proposed titles of the curator or artist had a similar influence on the

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respondents. The overall fit of the paintings and their titles is mainly affected by the scene fit and affection fit. The higher the score of the scene and affection fits, the higher the overall fit. Among them there are the paired scenarios between the paintings and the titles, allowing the respondents to find whether there were common concepts or objects between the two. If the result is positive, the fit is high, and if the corresponding project cannot be found in the paintings and the titles, the fit is considered not high. The findings will help the painter use apt titles that allow the audience to better understand the meaning of the work and improve the communication effects of the work. Keywords: Cognitive, visual art perception, poem, painting.

Introduction With the general public’s increased demand for all kinds of exhibitions, the curator ─ the person-in-charge of exhibition planning ─ (Farquharson, 2003, O’neil, 2007) has changed from an art researcher to a more active role that takes the initiative to enhance the meaning and value of artists and art creations or act as the coordinator between the client (government, enterprise, or arts institution), creator (artist), and audience. In the past most curators would have an artistic background, but nowadays it is common for curators to have interdisciplinary backgrounds, and the definition of curator has been expanded to include the ability to create a viewpoint that resonates with the people(Sasaki, 2012). In other

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words, the curator can be a creator or any other entrusted person as long as the performance can successfully convey the message that makes the audience discover and understand the creator (exhibits). As far as the school of process on dissemination theory is concerned (Fiske, 1990), in the dissemination process from the sender (curator or creator), the message (exhibits characteristics) to the recipients (visitors), it must meet three levels: The first is the technical level, which requires letting the recipient see, hear, touch, or even feel the message; that is, how the curator tries to accurately convey a message through the exhibits. The second is the semantic level, which requires letting the recipient understand the meaning of the message without misinterpreting, misunderstanding, or even not understanding it all; that is, how to let the viewer and listener understand the original intention of the message to be expressed. The third is the effect level, which is how to make the recipient, according to the original intention of the message, take the right actions; that is, how to effectively influence the expected behavior (Lin, 1992). As far as the school of symbols of the dissemination theory is concerned(Fiske, 1990), an exhibit must reach the following three functions to express its significance through the symbol system: (1) Signification: The exhibit can express a kind of significance; that is, the curator’s intentions can indeed be expressed through the exhibit. (2) Expression: The exhibit may represent the curator’s thoughts and feelings; that is, through the exhibits, the curator’s thoughts and feelings can be

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reproduced. (3) Communication: The results of signification and expression can be sent to the listener or audience only when the curator thinks like the audience and understands the mood that the exhibit wants to convey, thereby completing the communication of the curator’s (creator’s) concept (Jakobson, 1987; Silverman, 1983). When viewers visit art-related exhibitions, if there is not enough information about the contents of the exhibitions in advance to form a conceptual model, viewers have difficulty appreciating or experiencing the exhibits, therefore the exhibits’ titles are important clues that help the audience understand the exhibits’ message. Thus, the purpose of this study is to explore which exhibit titles named by the exhibits’ creator and the curator from the viewer’s point of view can make the audience more easily understand the desired messages conveyed by the exhibits, to further explore the cognitive differences among the curator, creators, and audience.

Method In this study, ten paintings were selected. A poem was proposed respectively by the curator and the artist for each painting as the title, and then participants were invited to view the paintings and their titles and to fill the fit questionnaire, in order to explore the impact of the title on participants’ understanding of the contents of the painting. The research method is described below in detail.

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Experimental Samples In this study, the experimental samples were based on the paintings of the amateur painter, Ms. Lee, who has painted for five years. The ten selected paintings were her creations in the past two years that took “clouds” as the theme. The contents tended toward the abstract style, meaning the paintings have no images of a specific scenery, object, or character, but are mostly patterns composed of colors and lines. The curator proposed a poem as the title for each of the five paintings (No. E1~E5), and the other five paintings were named by the artist herself (No. A1~A5). The ten paintings and corresponding poem titles are shown in Table 1. The principle for the curator proposing the title is mainly for the audience, as the title must help the audience to understand more easily the mood of the painting. Therefore, in naming the title, the first thing that must be done is to associate the major visual impression that people have of the paintings with the life situations of the audience. Meanwhile, the titles developed by the curator were recognized by the painter as similar to the painter’s implications. The painter developed the title based on her own creative process and feeling of the painting. She focused on whether the poetry title expressed the mood of the painting, but did not consider whether the viewer would be able to understand.Table 1.

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Table 1. Paintings poetry title and number of samples.

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Subjects Due to the limited funding and time for the questionnaire survey, the research participants were mainly university students. A total of 300 questionnaires were issued, of which 254 valid questionnaires were retrieved. The participants consisted of 63 men and 191 women, with the majority between the ages of 18 to 21 (88%). The majority of the participants had a background in design-related departments (70%), such as Commercial Design, Visual Communication, Techno-Craft Design, and other departments, followed by departments in mass communication (18%), such as the Advertising Department. The rest were art-related departments, such as the Department of Fine Arts, the Painting Department, and so on.

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painting included three questions: Question 1 explored the degree of fit between poetry and paintings, with the score range from 0 to 100 points; the higher the score, the higher the fit. Question 2 and Question 3 explored the degree of fit between poetry and “affection” and “scene” of the paintings. The 5-point Likert scale was used to score the responses, which ranged from 1 (very unfit) to 5 (very fit).

Results The average fits of the paintings with poetry titles are shown in Table 2. Three paintings, (E1), (E2) and (A1), had scores exceeding 70 points of the overall fit. Six paintings, (E3), (E4), (E5), (A2), (A3), and (A4), had scores that ranged from 60 to 70 points. Only painting (A5) had an overall fit of less than 60 points. The distribution of the scores of the affection fit was the same as that of the overall fit. Paintings (E1), (E2), and (A1) had an average score of more than 3.5 points, and paintings (E3), (E4), (E5), (A2), (A3), and (A4) had scores that ranged from 3.0 to 3.5 points. Only painting (A5) had the affection fit of less than 3.0 points. The situation of the scene fit was slightly different. Only paintings (E1) and (E2) had scores above 3.5 points. The scene fit of painting (A5) was still below 3.0, and the scene fits of the remaining seven paintings were between 3.0 points and 3.5 points. Further ANOVA analysis explored the degree of difference between

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the ten paintings and showed significant differences (p <0.001) in the overall fit, affection fit, and the scene fit. Duncan grouping test results are also presented in Table 2, in which the overall fit can be divided into five groups. The highest group includes paintings (E1) and (E2), indicating that the overall fit of these two paintings is significantly higher than those of the other eight paintings. The second group included paintings (A1) and (A2), the third group included paintings (E3), (E4), and (A3), the fourth group included paintings (E5) and (A4), and the lowest group had painting (A5). It can be seen that the overall fit score of painting (A5) is significantly lower than those of the other nine paintings. Affection fit is divided into four groups. The highest group includes paintings (E1), (E2), and (A1), the second group included (E3) and (A2), and the third group included (E3), (E4), (A3), and (A4). Painting (A5) remains in the lowest group. The scene fit is also divided into four groups. The highest group included (E1) and (E2). The next group included paintings (E3), (A1), and (A2). The third group included paintings (E3), (E4), (A3), and (A4). Painting (A5) belonged to the lowest group. The paired T-test results show the average affection fit of 3.27 points is significantly higher than the average scene fit of 3.18 points (t=6.01, p<0.001). In addition, the study explored the impact of the ways in which poetry titles were developed on the fit. The overall fit of the five paintings (E1~E5) that the curator proposed titles for was 70.37 points. The average of the scene fit was 3.31 points, and the average

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of the affection fit was 3.39 points. The overall fit of the other five paintings (A1~A5) that the artist developed titles for was 65.99 points. The scene fit was 3.05 points, and affection fit was 3.15 points. Overall, relative to the artist’s own proposed titles, the participants had a higher degree of recognition for the poetry titles developed by the curator. However, the independent t-test results showed that the title development method had no significant impact on all fit indicators (p> 0.05), which means that the poetry title, regardless of whether it had been developed by the curator or the artist, had a similar impact on the participants. The results confirmed that, in addition to the artist herself, the curator from the viewer’s perspective and based on past experience applied the appropriate title that could still convey the meaning of the paintings, so that other viewers could correctly receive them. Then the independent variables were again the participants’ age and gender, the scene fit, the affection fit, and the title development method. The dependent variable was the overall fit. Stepwise multiple regression analysis was used to establish the regression model’s overall fit. The results are as follows: Overall fit = 14.87 +0.44 (scene fit score) +0.41 (affection fit score) Adjusted R2 = 0.63. The model shows that the participants’ gender and age, and the title development method for the paintings were not entered in the model, so the overall fit was mainly affected by the scene fit and the affection fit. The higher the scene and affection fits were, the higher the overall fit was.

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To analyze in-depth the above results, the top of painting (E1) is a mixed blue and white, and the bottom is green, making it easy to think of “blue sky, white clouds, and green land” and fitting the concept of “sky” and “clouds” in the title; painting (E2) uses green for the bottom and many colorful blocks to form the images of flowers, which coincides with the concept of “flower” in the title text. The title of painting (A1), “clouds,” again echoes with the varied colors of the painting. In contrast, the poetry title of painting (A5) was “mountain,” “cloud,” and other figurative text, but the artist wanted to express the dynamic imagery of “rising clouds.” However, the painting has no “mountain” image concept in the painting, so the respondents could not associate it with the title, resulting in a low fit. Such situations can be illustrated using the “frame of reference” in the dissemination theory. There was a paired reference scenario between the painting and the title, and the respondents found clues in the images of the paintings in order to match the painting image to the title text. If there is a common concept or object between the two, the fit is considered high; conversely, if the painting and the title cannot find a corresponding project, then the fit is considered not high.

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Table 2. The average fit of paintings with poetry titles and the test results (N = 254)

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Conclusions This study explored the influence of the painter and curator on the titling of paintings. The results showed that the proposed titles of the curator or artist had a similar influence on the respondents, and then showed that the curator based on past experience could convey the meaning of the paintings, so that other viewers could correctly receive them. The overall fit of the paintings and their titles is mainly affected by the scene fit and affection fit. The higher the score of the scene and affection fits, the higher the overall fit. Among them there are the paired scenarios between the paintings and the titles, allowing the respondents to find whether there were common concepts or objects between the two. If the result is positive, the fit is high, and if the corresponding project cannot be found in the paintings and the titles, the fit is considered not high. A follow-up study should further explore whether the paired painting and title will have similar or dissimilar elements that participants in the overall fit, scene fit, and affection fit would classify into the same group. The findings will help the painter use apt titles that allow the audience to better understand the meaning of the work and improve the communication effects of the work.

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References Farquharson, A. (2003). I curate, you curate, we curate. Art Monthly, 269, 7-10. Fiske, John (1990). Introduction to communication studies. London : Routledge. Jakobson, R. (1987). Language in literature. Cambridge, MA: The Belknap Press of Harvard U. P. Lin, R. (1992). An Application of the Semantic Differential to Icon Design. Proceedings of Human Factors Society 36th Annual Meeting, pp. 336-340 . O’neill, P. (2007). The Curatorial Turn: From Practice to Discourse. In J. Rugg & M. Sedgwick (Eds.), Issues in Curating Contemporary Art and Performance (pp. 13-28). Chicago: Intellect. Sasaki, T. (2012). キュレーションの時代―「つながり」の情報革命が始まる . (Kuo, W. C., trans.). Taipei: Eco Trend Publications. Japan: CHIKUMASHOBO LTD. (Original work published 2011) [in Chinese, semantic translation] Silverman, K. (1983). The Subject of Semiotics. New York: Oxford University Press.

論文引用： S. J. Chen, C. L. Lin, and R-T Lin. (2014, April). The Study of Match Degree Evaluation between Poetry and Paint. the 5th Asian Conference on the Arts and Humanities (ACAH2014), Osaka, Japan.

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附錄二 A Cognition Study of Turning Poetry into Abstract Painting Si-Jing Chen, Chih-Long Lin and Rungtai Lin National Taiwan University of Arts

Abstract This study investigated the cognition of emotional responses and visual scenes using 12 paintings with poetic titles. The painter developed their poetic titles based on her own creative process and her feelings about the paintings, and focused on whether each poetic title expressed the mood of its painting. The paintings do not contain images of specific scenery, objects, or characters; rather, they largely consist of patterns composed of nonobjective colors and lines. 254 university students participated and were asked to match a painting with a poetic title based on their emotional responses, rated the degree of overall fitness between the poetry and the paintings(0 to 100%), rated the degree of fitness between the paintings’ poetic titles and their “affection” and “scene” (1-very unfit to 5-very fit). The results show that painting (C) had the highest matching rate at 31%, while painting (E) had the lowest matching rate at 6%. The average overall fitness of total image, affection, and scene were 67.5%, 3.2,

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and 3.1, respectively. A stepwise multiple regression analysis was applied to establish the regression model’s total image fitness and show that gender and affection fit were not entered into the model, the overall fit was mainly affected by the scene fit. Therefore, from the artist’s point of view, when creating poetic paintings, consideration must be given to focusing on a scene visual code so that the audience can transfer the connotation of one painting to poem. Yet, paintings with the same visual elements tend to cause symmetric confusion. Keywords: Cognitive,Picturesque, Fuzzy Evaluation, Semantic Cognition.

Introduction Since the mid-20th century, poetry has been more generally regarded as a fundamental creative act employing language. In today’s increasingly globalized world, poets often adapt forms, styles, and techniques from diverse cultures and languages (Yeh and Lin 2014, Yeh et al. 2014). On the other hand, painting and graphic design are forms of visual art, which is a mode of creative expression consisting of representational, imaginative, or abstract designs produced by the application of color to a twodimensional surface. Painting as an art form dates back to prehistoric cave paintings (Laude and Denomme 1972). In the early 20th century, artists began to experiment with nonrepresentational art, in which formal qualities such as line, color, and form were

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explored rather than subject contents. Today, painting vacillates between representational and nonrepresentational forms (Beatty and Ball 2010, Maré 2010, Beatty 2011, Beatty and Ball 2011). Frankel (1957) claimed that in the European Middle Ages, painting was generally regarded as subordinate to literature. During the Italian Renaissance, painters and sculptors attempted to rid themselves of this low reputation. Renaissance artists cited classical authors such as Simonides of Ceos, who called painting “silent poetry” and poetry “speaking painting.” Another favorite quotation was Horace’s dictum, “Poetry is like painting.” Furthermore, the Italian sculptor and poet Pomponius Gauricus (1841-1530) used the Greek word graphei, meaning both “to write” and “to paint,” to prove that these two arts are inseparable. However, Frankel (1957) stated that in the Chinese literary tradition, the Chinese character for “writing” ( 寫 , hsieh) has been used in the dual sense of “to write” and “to paint,” and that the expression “tu hua” ( 讀

畫 ), meaning “to look at a

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evaluate a Chinese painting (Yeh and Lin 2014, Yeh et al. 2014). A poem creates visual images in the reader’s mind, just as a painting creates images in the viewer’s eyes. A great painting has much more below the surface than is first seen on the surface. So it is with poetry. Great art must access the mind as well as the senses. A poem is a painting made with words. The concept of the convertibility of poetry and painting concerns equality, which took many centuries to develop in both Europe and China (Frankel, 1957). In the analysis of poems and paintings, it is important to consider whether or not the texts are situated in the poems in a way that is analogous to the illustrations of the paintings (Laude and Denomme 1972). It has been argued that the idea of turning poetry into painting should be interdisciplinary, as well as mentally challenging and creative (Michel, 1999). Maré (2010) explored whether or not visual images and works of art can be “read,” and raised important questions as to whether the description and interpretation of a work of visual art can be referred to as the “reading” of that work. In the communication model, Jakobson (1987) proposed six constitutive factors with six functions in an act of communication. The six constitutive factors are as follows: addresser, addressee, context, message, contact, and code. For example, an artist (addresser) sends a message to an audience (addressee) through his/her artwork. The artist must recognize that his/her work

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(message) must refer to something other than itself, which is called the background story (context). Then, the artist needs a physical channel and psychological connection between himself/herself and the audience (contact). Finally, his/her message must be based on a shared meaning system (code) by which his/her work is structured. Each of these factors determines a different function in each act of communication: emotive, conative, referential, poetic, phatic, and metalingual. The emotive function communicates the artist’s emotions to the audience, whose reaction is a conative function. The referential function is the reality orientation of the message. The other three functions, which may be less familiar, are as follows: the phatic function is to keep the channels of communication open, the metalingual function is to identify the code that is being used, and the poetic function is the relationship of the message to itself. Turning poetry into painting involves complex issues that are interdisciplinary in nature. This nature appears to be suitable for “reading” in different ways, and multiple perspectives are available through which to analyze them. The purpose of this study was to understand the perceptual process of turning poetry into painting.

Method In this study, 12 abstract paintings were selected. A poem was proposed respectively by the curator and the artist for each painting as the title, and then participants were invited to view the paintings

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and their titles and to fill the fit questionnaire, in order to explore the impact of the title on participants’ understanding of the contents of the painting. The research method is described below in detail.

Subjects Due to the limited funding and time for the questionnaire survey, the research participants were mainly university students. A total of 254 valid questionnaires were retrieved. The participants consisted of 63 men and 191 women, with the majority between the ages of 18 to 21 (88%). The majority of the participants had a background in design-related departments (70%), such as Commercial Design, Visual Communication, Techno-Craft Design, and other departments, followed by departments in mass communication (18%), such as the Advertising Department. The rest were art-related departments, such as the Department of Fine Arts, the Painting Department, and so on.

Experimental Samples In this study, the experimental samples were based on the paintings of the amateur painter, Ms. Lee, who has painted for five years. The 12 selected paintings were her creations in the past two years that took “clouds” as the theme. The contents tended toward the abstract style, meaning the paintings have no images of a specific scenery, object, or character, but are mostly patterns composed of colors and lines. The 12 paintings and corresponding poem titles are shown in Table 1. The principle for the curator proposing the title is mainly for the audience,

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as the title must help the audience to understand more easily the mood of the painting. Therefore, in naming the title, the first thing that must be done is to associate the major visual impression that people have of the paintings with the life situations of the audience.

Procedure This study was mainly conducted in school classrooms. The researchers invited students to participate in the investigation and obtained prior consent. The participants agreed to arrive at the classroom at the agreed time. First, the purpose of the experiment was explained to the participants, and a slide was juxtaposed with the title. The participants were then asked to fill in the questionnaire for the painting experience. Each questionnaire answer had no time limit, and the questionnaire could generally be completed within 15 minutes. The questionnaire contained personal information and fit assessment of each painting. Basic information included gender, age, department and grade, and other items. The fit assessment of each painting included three questions: Question 1 Subjects were asked to match each painting with a poetic title. Question 2 explored the degree of fit between poetry and paintings, with the score range from 0 to 100 points; the higher the score, the higher the fit. Question 3 and Question 4 explored the degree of fit between poetry and “affection” and “scene” of the paintings. The 5-point Likert scale was used to score the responses, which ranged from 1 (very unfit) to 5 (very fit).

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Table 1. Paintings poetry title and number of samples.

Results In order to evaluate pictorial symbols, many studies have used matching tests to create a confusion matrix, which is then interpreted subjectively by examining it. The matching test in this study revealed the confusion among the paintings and their referents within a stimulus set. Table 2 shows the confusions among the abstract paintings. The most significant symmetric pairs are shown along the main diagonal, while the asymmetric confusions are shown in the circled matching rates off the main diagonal. Among the symmetric

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pairs, paintings (F) and (G) were mutually confused at rates of 8% and 9%, respectively, as shown in Table 1. Paintings (J) and (C) were also symmetrically confused: painting (J) was correctly matched with poetic title (10) 19% of the time and was mismatched 28% of the time with poetic title (3), while painting (C) was correctly matched with poetic title (3) 31% of the time and was mismatched 8% of the time with poetic title (10). Among the asymmetric confusions, painting (I) had a correct matching rate of 7% with poetic title (9) and was mismatched at a rate of 6% with poetic title (10), while painting (J) had a correct matching rate of 19% with poetic title (10), but was not mismatched with poetic title (9). Table 2. Symmetric and asymmetric confusions among the abstract paintings

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Table 3 summarizes the fuzzy rating of the total image, affection, and scene between poetic titles and paintings. The second column indicates the percentage of correct matches for each painting. The overall average fitness of total image, affection, and scene were 67.5%, 3.2%, and 3.1%, respectively. The three title/painting pairs B(2), C(3), and K(11) had high total image fitness ratings of 77.2%, 75.1%, and 73.1%, respectively, while the fitness of their affection and scene were all higher than 3.5. The lowest fitness of total image was pair I(9) at only 55.2%, while its fitness of affection and scene were 2.5 and 2.6. The other eight pairs had an average total image fitness rating of between 60% and 70%, with low affection and scene fitness ratings of between 3.0 and 3.5. A stepwise multiple regression analysis was applied to establish the regression model’s total image fitness for the abstract paintings. The results are as follows: Total image fitness= 13.14 + 0.98 (scene fitness)……… Adj. R2 = 0.96, p < .001 The participants’ gender and age and the title development method for the paintings were not entered into the model, s o t h e o v e r a l l f i t w a s m a i n l y a ff e c t e d b y t h e a ff e c t i o n fit: the higher the affection fit, the higher the overall fit.

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Table 3. Summary of correct matching rates with fuzzy rating data (mean and standard deviation)

Discussion Most of the symmetric and asymmetric confusion pairs occurred at the technical, semantic, and effectiveness levels of the communication model. These confusions were grouped into two types based on the following three problems: 1) Conceptual similarity is a semantic level that concerns connotative content. Conceptual confusion was caused because of a lack of reference for an event or image, especially in abstract paintings; for example, C(3) and D(4) were confused with each other, as were E(5) and F(6), because they turned poetry about clouds into

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abstract paintings with no specific visual features as referents for decoding. Consequently, the audience created the beautiful world of these paintings in their imaginations. This is the reason why abstract paintings experienced low recognition of their diversity. 2) Visual and conceptual similarity is an effectiveness level that conveys meaning to the audience in the desired way. Visual and conceptual confusion is caused by the visual and verbal similarity. The main confusions between the paintings and their poetic titles derived from the different natures of visual and verbal codes. Visual codes have a defined, limited paradigm of signifiers with precisely related content and context (Barthes 1967, Fiske 1990). They emphasize denotative meaning. Verbal codes have open-ended paradigms: new units can be added and existing ones can drop out of use. They tend not to have an agreed-upon content or context. They are thus more dynamic and capable of change. Visual codes are static and can only change by explicit agreement amongst the audience. Painting codes, then, are closed: they attempt to contain meaning within their visual elements and do not invite the audience to bring much to their side of the negotiating process. All painting codes require is that the audience understands their visual features. On the other hand, poetry codes are open and invite the active negotiation of the audience. Extreme types of poetry codes can be called aesthetic, and can sometimes be decoded only via clues within the verbal elements (Tiedens and Linton 2001, Silvia 2005, Worringer 2007).

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The difference between visual and verbal code systems is the key factor that causes symmetric and asymmetric confusion. The artist must therefore be sure to select the appropriate visual elements for those paintings in the low-recognition group by avoiding asymmetric confusion, and to select the right verbal contents for those in the middle recognition group by preventing symmetric confusion.

Conclusions Understanding how an audience recognizes a painting is as complex as understanding visual perception itself. Since the cognitive factors that affect the appreciation of paintings have not been properly analyzed, the cognition of turning poetry into painting is typically ill-defined or fuzzy (Belke et al. 2010). The purpose of this study was to propose a framework for turning poetry into painting and to use a fuzzy approach as a technique for evaluating paintings. The result showed that the fuzzy approach can be applied for evaluating paintings effectively and can provide artists with an idea of how to concentrate their efforts at the creation stage in order to communicate easily with their audience. The fuzzy approach seems to be a good way to provide a possible solution to this methodological problem (Carlsson and Fullér 2003, Chen et al. 2006). The fuzzy approach appears to have an advantage over the subjective interpretation of confusion through matching tests because dimensions extracted through the fuzzy approach are the subjects’

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perceptions of the stimuli. Although the idea of using a confusion matrix in the fuzzy approach to explore the cognition of turning poetry into painting is quite simple, this study is merely the first step in testing the utility of fuzzy rating as a technique for understanding painting recognition and creation, and is clearly worthy of more indepth study. It is suggested that the fuzzy approach be validated through more testing and evaluating of paintings in further study.

Acknowledgement We thank the Ministry of Science and Technology under Grant MOST 103-2410-H-144 -003 -MY2 and MOST-104-2922-I-144-002 for funding this study.

References Barthes, R. (1967). Elements of Semiology. London: Jonathan Cape. Beatty, E. L. (2011). The intersection of poetry and design. In Proceedings of the 8th ACM conference on Creativity and cognition (C&C '11) (pp. 449-450). ACM, New York. Beatty, E. L., & Ball, L. J. (2010). Poetic design: An exploration of the parallels between expert poetry composition and Innovation design practices, Proceedings of the 1st DESIRE Network Conference on Creativity and Innovation in Design (pp. 62-71). Lancaster, UK: Desire Network. Beatty, E. L., & Ball, L. J. (2011). Investigating exceptional poets to inform an understanding of the relationship between poetry

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and design. In Proceedings of the 2nd Conference on Creativity and Innovation in Design (DESIRE '11) (pp. 157-165). ACM, New York. Belke, B., Leder, H., Strobach, T., & Carbon, C. C. (2010). Cognitive fluency: High-level processing dynamics in art appreciation. Psychology of Aesthetics, Creativity, and the Arts,Vol. 4, No. 4, pp. 214-222. Carlesson, C. & Fullér, R. (2003). A fuzzy approach to real option valuation. Fuzzy sets and systems, Vol. 139, No. 2, pp. 297-312. Chen, C.T., Lin, C.T. & Huang, S.F. (2006). A fuzzy approach for supplier evaluation and selection in supply chain management. International journal of production economics,Vol. 102, No. 2, pp. 289-301 Fiske, J. (1990). Introduction to communication studies.2nd ed. London: Routledge. Frankel, H. H. (1957). Poetry and Paintings: Chinese and Western Views of Their Convertibility. Comparative Literature, Vol. 9, No. 4, pp. 289-307. Jakobson, R. (1987). Language in literature. Cambridge, MA: Belknap Press. Laude, J. & Denomme, R. T. (1972). On the Analysis of Poems and Paintings. New Literary History, Vol. 3, No. 3, pp. 471-486. Maré, E. A. (2010). Can one “read” a visual work of art? South African Journal of Art History, Vol. 25, No. 2, pp. 58-68. Michel, K. F. (1999). Turning Poetry into Paintings: An Experiment

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in Visualization. Art Education. Vol. 52, No. 3, pp. 6-12 Silvia, P. J. (2005). Emotional responses to art: From collation and arousal to cognition and emotion. Review of General Psychology, Vol. 9, No. 4, pp. 342-357. Tiedens, L. Z. & Linton, S. (2001). Judgment under emotional certainty and uncertainty: The effects of specific emotions on information processing. Journal of Personality and Social Psychology, Vol. 81, No. 6, pp. 973-88. Worringer, W. (2007). Abstraction and empathy: A contribution to the psychology of style. Chicago: Ivan R. Dee. Yeh, M. L., & Lin, P. H. (2014). Beyond claims of truth. Journal of Arts and Humanities, Vol. 3, No. 1, pp. 98-109. Yeh, M. L., Lin, R., Wang, M. S., & Lin, P. H. (2014). Transforming the hair color design industry by using paintings: From art to e-business. International Journal of E-Business Development, Vol. 4, No. 1, pp. 12-20.

論文引用： S. J. Chen, C. L. Lin, and R-T Lin. (2015, May). A Cognition Study of Turning Poetry into Abstract Painting, The 5th Asian Conference on Cultural Studies (ACCS 2015), Kobe, Japan.

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附錄三 THE COGNITION OF TURNING POETRY INTO PAINTING Chih-Long Lin, Si-Jing Chen, Jun-Liang Chen and Rungtai Lin National Taiwan University of Arts

Abstract This study used the fuzzy approach to investigate the cognition of emotional responses and visual scenes when turning poetry into painting. In Experiment I, subjects were asked to match a painting with a poetic title based on their emotional responses. Experiment II used a fuzzy rating by which subjects were asked to subjectively evaluate the degree of overall fitness, as well as the degree of fitness between each poem and the emotional responses to and scenes of the paintings. The results show that the fuzzy approach can be applied for the effective evaluation of paintings and can provide artists with an idea of how to concentrate their efforts at the creation stage and improve communication with viewers.

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Poetry is a form of verbal art that uses the aesthetic qualities of language. Poetry uses forms and conventions to suggest different interpretations of words or to evoke emotive responses. Poetry has a long history, dating back to the Chinese shijing ( 詩經 , B.C. 1100600). Since the mid-20th century, poetry has been more generally regarded as a fundamental creative act employing language. In today’s increasingly globalized world, poets often adapt forms, styles, and techniques from diverse cultures and languages (Yeh and Lin 2014, Yeh et al. 2014). On the other hand, painting and graphic design are forms of visual art, which is a mode of creative expression consisting of representational, imaginative, or abstract designs produced by the application of color to a twodimensional surface. Painting as an art form dates back to prehistoric cave paintings (Laude and Denomme 1972). In the early 20th century, artists began to experiment with nonrepresentational art, in which formal qualities such as line, color, and form were explored rather than subject contents. Today, painting vacillates between representational and nonrepresentational forms (Beatty and Ball 2010, Maré 2010, Beatty 2011, Beatty and Ball 2011). Frankel (1957) claimed that in the European Middle Ages, painting was generally regarded as subordinate to literature. During the Italian Renaissance, painters and sculptors attempted to rid themselves of this low reputation. Renaissance artists cited classical authors such as Simonides of Ceos, who called painting “silent poetry” and

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poetry “speaking painting.” Another favorite quotation was Horace’s dictum, “Poetry is like painting.” Furthermore, the Italian sculptor and poet Pomponius Gauricus (1841-1530) used the Greek word graphei, meaning both “to write” and “to paint,” to prove that these two arts are inseparable. However, Frankel (1957) stated that in the Chinese literary tradition, the Chinese character for “writing” ( 寫 , hsieh) has been used in the dual sense of “to write” and “to paint,” and that the expression “tu hua” ( 讀

畫 ), meaning “to look at a

painting,” literally means “to read a painting.” Chinese painting, known as “guóhuà” ( 國畫 ), is one of the oldest continuous artistic traditions in the world, and regained popularity in China in the 20th century. Traditionally, Chinese painting involves essentially the same techniques as calligraphy ( 書法 , su huah) and is done with a form of poetry in the painting. The idiom of the “idyllic” ( 詩情畫意 , shiqinghuayi), which literally means a quality suggestive of the poetic and picturesque, is used as the criterion with which to evaluate a Chinese painting (Yeh and Lin 2014, Yeh et al. 2014). A poem creates visual images in the reader’s mind, just as a painting creates images in the viewer’s eyes. A great painting has much more below the surface than is first seen on the surface. So it is with poetry. Great art must access the mind as well as the senses. A poem is a painting made with words. The concept of the convertibility of poetry and painting concerns equality, which took many centuries to develop in both Europe and China (Frankel, 1957). In the analysis

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of poems and paintings, it is important to consider whether or not the texts are situated in the poems in a way that is analogous to the illustrations of the paintings (Laude and Denomme 1972). It has been argued that the idea of turning poetry into painting should be interdisciplinary, as well as mentally challenging and creative (Michel, 1999). Maré (2010) explored whether or not visual images and works of art can be “read,” and raised important questions as to whether the description and interpretation of a work of visual art can be referred to as the “reading” of that work. When a viewer is faced with a painting, such as Nana by Monet, he or she is presumably required to interpret the elements provided by decoding and then constructing meaning by encoding. Thus, the audience has to discover or construct a meaning and then attribute that meaning to what is in the painting (Laude and Denomme 1972, Antonietti and Cantoia 2000). In order to test this general assumption, two experiments were designed to investigate the sense of the poetic and the picturesque in visual images when poetry is turned into painting. The experiments focused on a specific cognitive activity: “reading” the quality of a visual work in terms of the poetic (affection) and the picturesque (scene). While the information processing involved in experiments has been extensively investigated, few studies have approached it from human factors or cognitive psychology perspectives, such as communication theory, mental models, and mental workload (Gentner and Stevens

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1983, Jakobson 1987, Hancock and Meshkati 1988, Fiske 1990, Tiedens and Linton 2001, Klir 2005). Therefore, on the basis of previous studies (Leder et al. 2004, Beatty and Ball 2010, Beatty 2011, Beatty and Ball 2011), the purpose of this study was to propose a research framework that contributes to the literature regarding the perceptual process of turning poetry into painting. Based on previous studies (Barthes 1967, Silverman 1984, Jakobson 1987, Fiske 1990), a research framework combining communication theory with communication and mental models was proposed to explore the issue of turning poetry into painting, as shown in Figure 1. According to communication theory, an artwork must have three functions in order to express its significance through the symbol system: (1) signification: the artwork expresses a kind of significance—that is, the artist’s intentions can be expressed through the artwork; (2) expression: the artwork represents the artist’s feelings—that is, through the artwork, the artist’s imagination, thoughts, and feelings can be reproduced; and (3) communication: the results of signification and expression can be transmitted to the viewer only when the artist’s and the viewer’s thoughts are identical (Jakobson 1987, Fiske 1990). In communication theory, three levels of problems are identified in the study of communication: technical, semantic, and effectiveness. The technical level requires letting the addressee

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receive a message through his/her senses, such as seeing, hearing, touching, or even feeling—that is, the ways in which the artist can accurately transmit a message through his/her work. The semantic level requires letting the addressee understand the meaning of the message without misinterpreting, misunderstanding, or not understanding it at all—that is, how precisely the transmitted message expresses the desired meaning. The effectiveness level concerns the ways in which the addressee is made to take the right actions—that is, how effectively does the received meaning affect conduct in the expected way (Fiske, 1990), as shown in Figure 1.

Figure 1. Research framework for turning poetry into painting

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In the communication model, Jakobson (1987) proposed six constitutive factors with six functions in an act of communication. The six constitutive factors are as follows: addresser, addressee, context, message, contact, and code. For example, an artist (addresser) sends a message to an audience (addressee) through his/her artwork. The artist must recognize that his/her work (message) must refer to something other than itself, which is called the background story (context). Then, the artist needs a physical channel and psychological connection between himself/herself and the audience (contact). Finally, his/her message must be based on a shared meaning system (code) by which his/her work is structured. Each of these factors determines a different function in each act of communication: emotive, conative, referential, poetic, phatic, and metalingual. The emotive function communicates the artist’s emotions to the audience, whose reaction is a conative function. The referential function is the reality orientation of the message. The other three functions, which may be less familiar, are as follows: the phatic function is to keep the channels of communication open, the metalingual function is to identify the code that is being used, and the poetic function is the relationship of the message to itself, as shown in Figure 1. For the mental model of cognitive engineering (Kreifeldt et al. 2011, Yen et al. 2013), Norman (1988) proposed a conceptual model that includes three parts: design model, user’s model, and system image. When a designer designs a product for a user, the designer expects

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that the user will understand and use it in the desired way, meaning that the user’s model is identical to the design model. In actuality, the designer should understand the user’s mental model, rather than vice versa. The designer always understands his own design. The problem is to design a product so that it conforms to the user’s mental model. The system image results from the physical structure that has been built by the design model. Because the designer does not talk directly with the user, the communication must take place through the system image. In communication theory, if the message (system image) does not make the design model clear and consistent, the user will end up with the wrong mental model. For emotional design, Norman (2004) proposed three levels of processing— visceral, behavioral, and reflective—which are integrated into Figure 1 as an important part of the research framework. Turning poetry into painting involves complex issues that are interdisciplinary in nature. This nature appears to be suitable for “reading” in different ways, and multiple perspectives are available through which to analyze them. Based on the above discussion, the research framework can be used in a continuous search for a deeper understanding of the nature of turning poetry into painting, in which some conjectures can be tested.

Method In accordance with the research framework (Figure 1), this

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study used questionnaires interviews, matching tests, and fuzzy ratings to explore the cognition of turning poetry into painting. Three different sessions were carried out, as shown in Figure 2. Session I included a literature review and the establishment of a research framework. In Session II, a pilot study was conducted, and a matching test approach and fuzzy rating approach were used in formal experiments. In Session III, a confusion matrix, multivariate data, and protocol analysis were applied in order to explore the recognition of turning poetry into paintings. The stimulus, subjects, and procedures are described in detail below.

Figure 2. Method for exploring the cognition of turning poetry into painting

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Stimuli The stimuli consisted of the paintings of an amateur painter, Ms. Lee, who has painted for five years. Twenty-one paintings— nine landscape (A1 to I9) and 12 abstract (J10 to U21)—were selected from Ms. Lee’s body of work from the past three years, as shown in Table 1. The nine landscape paintings, which were comprised of nature scenes containing clouds, were used as the base from which the author proposed poetic titles related to clouds. The key factor for the purpose of these poetic titles was that they had to help the audience to more easily understand the mood of each painting. Therefore, in creating the titles, the first thing that had to be done was to associate viewers’ main visual impressions of the paintings with their life situations. Meanwhile, the poetic titles developed by the author were also recognized by the painter as sufficiently similar to the painter’s intentions. For the abstract paintings, the painter was asked to read the paper entitled “Turning Poetry into Paintings: An experiment in visualization by Michel (1999) and two related papers (Lin 2007, Hsu et al. 2011). The twelve abstract paintings were then painted according to the selected poetry, following the three steps for turning poetry into paintings: illustration, interpretation, and reaction. The abstract paintings do not contain images of specific scenery, objects, or characters; rather, they largely consist of patterns composed of nonobjective colors and lines. The painter developed their poetic

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titles based on her own creative process and her feelings about the paintings, and focused on whether each poetic title expressed the mood of its painting. Her 21 original poetic titles are listed in Table 2 in the original Chinese and in their English translations.

Table 1. Twenty-one stimulus paintings

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Table 2. The poetic titles of the study paintings

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Participants All of the study participants were university student volunteers from the northern and southern regions of Taiwan. A total of 254 participants—63 men and 191 women between the ages of 18 and 21 (88%)—participated in the study. The participants were told the purpose of the study. They were then asked to match the paintings with the given poetic titles and to rate the fitness of turning the poetry into paintings according to their understanding of the content of each painting. The procedure is described below in detail.

Procedure This study was conducted during design-related classroom courses. The students were invited to participate as subjects and agreed to follow the experimental procedure, including the matching test and fuzzy rating. The purpose of the experiment was explained to the subjects and a slide showing the 21 paintings was juxtaposed with a slide of their corresponding poetic titles. The subjects were then asked to follow the procedure to finish each experiment. The experiments were conducted at least one week apart and had no time limit; generally, each subject completed the experiment within 20 minutes (Hsu et al. 2013). The 21 paintings were randomly ordered on a piece of paper, at the bottom of which their corresponding poetic titles were listed. Before the matching test, the subjects were briefed on

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the purpose and procedure of the study. Subjects were asked to match each painting with a poetic title. One week following the matching tests (Zwaga 1989, Lin 1994). Each painting and its corresponding poetic title, together with three questions and a rating scale, were put together as shown in Table 3. The subjects were told the purpose of the experiment. They were then asked to rate each painting with its poetic title according to the questions. The fit assessment of each painting included three questions. Question 1 explored the degree of overall fitness between the poetry and the paintings, with a score range from 0 to 100%—the higher the score, the better the fit. Questions 2 and 3 explored the degree of fitness between the paintings’ poetic titles and their “affection” and “scene.” A 5-point Likert scale was used to score the responses from 1 (very unfit) to 5 (very fit). Table 3. The fuzzy ratings of the fitness of total image, affection, and scene

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Results Confusion between poetic titles and paintings In order to evaluate pictorial symbols, many studies have used matching tests to create a confusion matrix, which is then interpreted subjectively by examining it. The matching test in this study revealed the confusion among the paintings and their referents within a stimulus set. Table 4 summarizes the percentage of correct responses and the confusion matrix from the matching test. The main diagonal shows the correct matching (%) of each poetic title with its painting. In order to easily study the confusion matrix, matching rates under 6% were ignored. The mismatches between the poetic titles and the other 20 paintings in the set are given in the row, while the column shows to what degree the painting was mismatched with the other 20 poetic titles. In the diagonal of the confusion matrix, painting (G) in the landscape group had the highest matching rate at 49%, while painting (N) in the abstract group had the lowest matching rate at 6%. In the landscape group, paintings (G) and (D) had relatively high matching rates, at 49% and 43%, respectively; these two paintings are both highly interpretable in their subject and not easily confused with other paintings. Paintings (B) and (H) had middle matching rates, at 34% and 33%, respectively, while the other five paintings had matching rates of under 30%. In the abstract group, painting (L) had a middle matching rate at 31%, while the other paintings were classified at low matching rates. The paired t-test results show that the average matching rate for the landscape paintings (27%) was significantly

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higher than that of the abstract paintings (16%) (t = 2.42, p < .05). Table 4 also conveys information on symmetric and asymmetric confusion. Symmetric confusion occurred when subjects mistook two paintings for each other. For example, paintings (A) and (B) were mutually confused at rates of 11% and 24%, as shown in the first dotted square in Table 5. Paintings (C) and (H) were also confused with each other: painting (C) was correctly matched with poetic title (3) 12% of the time, but was mismatched 33% of the time with poetic title (8). Likewise, painting (H) was correctly matched 33% of the time with poetic title (8) and was mismatched 4% of the time with poetic title (3). Asymmetric confusion was caused by subjects matching an incorrect poetic title to a given painting. For example, painting (C) was correctly matched with poetic title (3) 12% of the time and was mismatched at a rate of 10% with poetic title (4), while painting (D) was correctly matched with poetic title (4) at a rate of 43%, but was never mismatched with poetic title (3).

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Table 4. Confusion matrix with matching rates (%)

Table 5. Symmetric and asymmetric confusions among the landscape paintings

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Table 6 shows the confusions among the abstract paintings. The most significant symmetric pairs are shown along the main diagonal, while the asymmetric confusions are shown in the circled matching rates off the main diagonal. Among the symmetric pairs, paintings (O) and (P) were mutually confused at rates of 8% and 9%, respectively, as shown in Table 6. Paintings (S) and (L) were also symmetrically confused: painting (S) was correctly matched with poetic title (19) 19% of the time and was mismatched 28% of the time with poetic title (12), while painting (L) was correctly matched with poetic title (12) 31% of the time and was mismatched 8% of the time with poetic title (19). Among the asymmetric confusions, painting (R) had a correct matching rate of 7% with poetic title (18) and was mismatched at a rate of 6% with poetic title (19), while painting (S) had a correct matching rate of 19% with poetic title (19), but was not mismatched with poetic title (18). Table 6. Symmetric and asymmetric confusions among the abstract paintings

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Fuzzy ratings of poetic titles and paintings The application of the fuzzy approach is widespread in various fields, from behavioral and social science to product design and human factors (Lin, 1994). Fuzzy rating allows respondents to provide an imprecise rating that takes into account the reality of the imprecision of human thoughts (Carlsson and Fullér, 2003). Table 7 summarizes the fuzzy rating of the total image, affection, and scene between poetic titles and paintings. The second column indicates the percentage of correct matches for each painting. Among the landscape paintings, the average fitness of total image was 73.6%, while the average fitness of affection and scene were both 3.5. Painting (D) with poetic title (4) and painting (G) with poetic title (7) had the highest average fitness of total image at 82% and 81.3%, respectively, while the average fitness of affection and scene between poetic titles and paintings were both 4.0 for D(4) and were 3.9 and 4.1, respectively, for G(7). Meanwhile, pairs C(3) and E(5) had the lowest average fitness for total image at 63.2% and 63.6%, respectively, while the average fitness of affection and scene were both 2.9 for C(3) and were 3.0 and 2.9, respectively, for E(5). The other five title/painting pairs had a high average fitness of between 70% and 80% for total image, and a low fitness for both affection and scene.

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Table 7. Summary of correct matching rates with fuzzy rating data (mean and standard deviation)

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A stepwise multiple regression analysis was used to establish the regression model’s total image fitness for the landscape paintings. The results are as follows: Total image fitness (Landscape paintings) = 12.82 + 0.73 (affection fitness) + 0.28 (scene fitness)………(1) Adjusted R2 = 0.98, p < .001 The participants’ gender and age and the title development method for the paintings were not entered into the model, so the overall fit was mainly affected by scene fit and affection fit. The higher the scene and affection fits were, the higher the overall fit was for landscape painting.

Among the abstract paintings, the overall average fitness of total image, affection, and scene were 67.5%, 3.2%, and 3.1%, respectively. The three title/painting pairs K(11), L(12), and T(20) had high total image fitness ratings of 77.2%, 75.1%, and 73.1%, respectively, while the fitness of their affection and scene were all higher than 3.5. The lowest fitness of total image was pair R(18) at only 55.2%, while its fitness of affection and scene were 2.5 and 2.6. The other eight pairs had an average total image fitness rating of between 60% and 70%, with low affection and scene fitness ratings of between 3.0 and 3.5. A stepwise multiple regression analysis was applied to establish the regression model’s total image fitness for the abstract paintings. The results are as follows:

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Total image fitness (Abstract paintings) = 13.14 + 0.98 (scene fitness)……… (2) Adjusted R2 = 0.96, p < .001 The participants’ gender and age and the title development method for the paintings were not entered into the model, so the overall fit was mainly affected by the affection fit: the higher the affection fit, the higher the overall fit.

Discussion Avoiding confusion on three levels Table 8 shows three different groups that were created based on correct matching rate and total image rating. Five paintings that had a correct matching rate of more than 30% and a total image fitness of more than 70% were classified into the “high recognition” group. Nine paintings with a correct matching rate of less than 30% and a total image fitness rate of more than 70% were classified into the “middle recognition” group. The other seven paintings were classified into the “low recognition” group, as shown in Table 8.

Several symmetric and asymmetric confusions are summarized in Table 9. For example, in the symmetric confusion of A(1) and B(2), poetic title (1) was correctly chosen for painting (A) 27% of

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Table 8. Summary of high, middle, and low recognition groups

Table 9. The symmetric and asymmetric confusion pairs

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the time and was mismatched 24% of the time when poetic title (2) was presented, while painting (B) was mismatched 11% of the time with poetic title (1) and was correctly matched 34% of the time with poetic title (2).

Most of the symmetric and asymmetric confusion pairs occurred at the technical, semantic, and effectiveness levels of the communication model, as shown in Figure 1. These confusions were grouped into three types based on the following three problems: (1) Visual similarity is a technical level that focuses on denotative elements. Visual confusion mostly occurred in landscape paintings; for example, A(1) and B(2) shared the visual feature of a “wide river” and an “ocean,” while E(5)and F(6) had similar backgrounds involving “clouds hanging in the sky.”

(2) Conceptual similarity is a semantic level that concerns connotative content. Conceptual confusion was caused because of a lack of reference for an event or image, especially in abstract paintings; for example, L(12) and M(13) were confused with each other, as were N(14) and O(15), because they turned poetry about clouds into abstract paintings with no specific visual features as referents for decoding. Consequently, the audience created the beautiful world of these paintings in their imaginations. This is the reason why abstract paintings experienced low recognition of their diversity.

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(3) Visual and conceptual similarity is an effectiveness level that conveys meaning to the audience in the desired way. Visual and conceptual confusion is caused by the visual and verbal similarity. For example, the titles of I(9) and J(10) contained the words “cloud” and “mountain,” while the visual element of “clouds” appeared in both paintings. Likewise, D(4) and R(18) comprise a typical example of asymmetric confusion: painting (D) was correctly matched at a rate of 43% with poetic title (4) and was mismatched at a rate of 22% with poetic title (18), while painting (R) was correctly matched at a rate of 7% with poetic title (18) but was not mismatched with poetic title (4). Some pairs were not confused with each other: for example, painting (H), with a correct matching rate of 33%, was not confused with painting (L), with a matching rate of 31%.

The main confusions between the paintings and their poetic titles derived from the different natures of visual and verbal codes. Visual codes have a defined, limited paradigm of signifiers with precisely related content and context (Barthes 1967, Fiske 1990). They emphasize denotative meaning. Verbal codes have open-ended paradigms: new units can be added and existing ones can drop out of use. They tend not to have an agreed-upon content or context. They are thus more dynamic and capable of change. Visual codes are static and can only change by explicit agreement amongst the audience. Painting codes, then, are closed: they attempt to contain meaning within their visual elements and do not invite the audience to bring

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much to their side of the negotiating process. All painting codes require is that the audience understands their visual features. On the other hand, poetry codes are open and invite the active negotiation of the audience. Extreme types of poetry codes can be called aesthetic, and can sometimes be decoded only via clues within the verbal elements (Tiedens and Linton 2001, Silvia 2005, Worringer 2007).

The trade-offs between denotation and connotation A painting of a poetic “scene” denotes that a particular “affection” occurs when the “scene” meets the emotions of the audience and the values of their culture. The “scene” dimension refers to the physical or tangible characteristics of a painting that have an objective basis for comparison. For example, a painting has form, color, layout, and so on. On the other hand, respondents may “subjectively” attach features to a painting. Examples of this include “beautiful,” “elegant,” and “good-looking.” These perceived dimensions are unique to the individual and may bear little correspondence to the objective dimensions of the painting (Reber et al. 2004).

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In Experiment II, the respondents were asked to subjectively evaluate the fitness of “scene” and “affection” between a painting and its poetic title. A denotative scene with a connotative affection presented the total image of a painting. Hence, the respondents encountered great difficulties in separately rating the degree of fitness in the objective (scene) and perceived (affection) dimensions. For example, painting (A) with poetic title (1) and painting (B) with poetic title (2) experienced symmetric confusion. Both had the same denotative scenario, containing a “wide river” or “ocean,” and had the same affection for a sunrise or a reference to returning home. These caused visual and conceptual confusion. Although the denotative image functions for the individual paintings can convey their intended meanings, when the two paintings were juxtaposed simultaneously, the visual and conceptual confusion decreased the correct matching rates. The denotative meanings of paintings (A) and (B) were the same, while the difference lay in their connotations.

Denotation is the visual transformation in painting of the poetic affection on which the painter is focused. Connotation refers to the audience’s process of decoding the transformation made by the painter. Thus, denotation is the way in which a “scene” is painted, while connotation is the way in which “affection” is presented. Some studies have shown that the advantages of shared visual elements lie in the audience having less to learn, and that they may make predictions about important characteristics of unfamiliar situations

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(Collins and Lerner 1983, Barthelemy et al. 1990). However, the present study shows that the advantages of shared denotative elements are not always realized. Figure 3 shows the relationship between affection and scene fitness from respondents’ subjective ratings. Subjects tended to rate the fitness of the scene and affection of landscape paintings equally, as shown in regression model (1) and Figure 3, while the fitness of abstract paintings depended mainly on scene, as shown in regression model (2).

For example, painting (G), which had a high correct matching rate (49%) in the landscape group, had fitness scores of 3.9 for affection and 4.1 for scene. Painting (N), which had the lowest correct matching rate (6%), had scores of 3.1 and 3.0, respectively, in the subjective ratings of the fitness of affection and scene. Figure 4 summarizes the distribution of painting (G) with poetic title (7) and painting (N) with poetic title (14). The pairings of paintings (G) and (N) with the 21 poetic titles are shown in the upper part of Figure 4, while the matching of poetic titles (7) and (14) with the 21 paintings are shown at the bottom. Although paintings (G) and (N) had the same linear relationship, painting (G) tended toward scene and painting (N) tended toward affection. Painting (G) used trees and a stream as denotative visual elements to represent the scenery of spring, which matches with poetic title (7). In contrast, painting (N) has no specific denotative visual elements for reference, so the subjects evaluated that painting based on the perceived (affection)

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dimension, causing a mismatch. Figure 5 summarizes the relationship among total image, affection, and scene, based on Table 7. The total image fitness depended on the connotative (affection) and denotative (scene) factors. Therefore, from the artist’s point of view, when creating poetic paintings, consideration must be given to focusing on a denotative visual code so that the audience can transfer the connotation of one painting to poem. Yet, paintings with the same visual elements tend to cause symmetric confusion. Therefore, an artist needs to consider the tradeoffs between the benefit of conveying connotations of paintings quickly and the cost of creating symmetric confusion.

Figure 3. The relationship between affection and scene

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Figure 4. The distribution of paintings (G) and (N) with their poetic titles

Figure 5. The relationships among total image, affection, and scene fitness

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Conclusion Understanding how an audience recognizes a painting is as complex as understanding visual perception itself. Since the cognitive factors that affect the appreciation of paintings have not been properly analyzed, the cognition of turning poetry into painting is typically ill-defined or fuzzy (Belke et al. 2010). The purpose of this study was to propose a framework for turning poetry into painting and to use a fuzzy approach as a technique for evaluating paintings. The result showed that the fuzzy approach can be applied for evaluating paintings effectively and can provide artists with an idea of how to concentrate their efforts at the creation stage in order to communicate easily with their audience. The fuzzy approach seems to be a good way to provide a possible solution to this methodological problem (Carlsson and Fullér 2003, Chen et al. 2006).

The fuzzy approach appears to have an advantage over the subjective interpretation of confusion through matching tests because dimensions extracted through the fuzzy approach are the subjects’ perceptions of the stimuli. Although the idea of using a confusion matrix in the fuzzy approach to explore the cognition of turning poetry into painting is quite simple, this study is merely the first step in testing the utility of fuzzy rating as a technique for understanding painting recognition and creation, and is clearly worthy of more indepth study. It is suggested that the fuzzy approach be validated through more testing and evaluating of paintings in further study.

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References Antonietti, A. & Cantoia, M. (2000) To see a painting versus to walk in a painting: an experiment on sense-making through virtual reality. Computers & Education, 34, 213-223. Barthelemy, K. K., Mazur, K. M., & Reising, J. M. (1990) Color Coding and Size Enhancements of Switch Symbol Critical Features. Proceedings of the Human Factors and Ergonomics Society Annual Meeting, 34(1), 99-103. Barthes, R. (1967) Elements of Semiology (A. Lavers & C. Smith, Trans.). London: Jonathan Cape. Beatty, E. L. (2011) The intersection of poetry and design. Paper presented at the Proceedings of the 8th ACM conference on Creativity and cognition, Atlanta, Georgia, USA. Beatty, E. L., & Ball, L. J. (2010) Poetic design: an exploration of the parallels between expert poetry composition and innovative design practice. Paper presented at the Proceedings of the 1st DESIRE Network Conference on Creativity and Innovation in Design, Aarhus, Denmark. Beatty, E. L., & Ball, L. J. (2011) Investigating exceptional poets to inform an understanding of the relationship between poetry and design. Paper presented at the Proceedings of the Second Conference on Creativity and Innovation in Design, Eindhoven, Netherlands. Belke, B., Leder, H., Strobach, T., & Carbon, C. C. (2010) Cognitive fluency: High-level processing dynamics in art appreciation. Psychology of Aesthetics, Creativity, and the Arts, 4(4), 214-222.

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Carlesson, C. & Fullér, R. (2003) A fuzzy approach to real option valuation. Fuzzy sets and systems, 139(2), 297-312. Chen, C.T., Lin, C.T. & Huang, S.F. (2006) A fuzzy approach for supplier evaluation and selection in supply chain management. International journal of production economics, 102(2), 289-301. Collins, B. L., & Lerner, N. D. (1983) An evaluation of exit symbol visibility. Washington, DC: U.S. Dept. of Commerce, National Bureau of Standards; National Technical Information Service. Fiske, J. (1990) Introduction to Communication Studies (2nd ed.). London: Routledge. Frankel, H. H. (1957) Poetry and Paintings: Chinese and Western Views of Their Convertibility. Comparative Literature, 9(4), 289-307. Gentner, D. & Stevens, A. L. (1983) Mental Models. Hillsdale, NJ: Erlbaum. Hancock, P. A., & Meshkati, N. (1988) Human Mental Workload (1st ed.). Amsterdam: North Holland. Hsu, C. H., Chang, S. H. & Lin, R. (2013) A design strategy for turning local culture into global market products. International Journal of Affective Engineering, 12(2), 275-283. Hsu, C. H., Lin, C. L., & Lin, R. (2011) A Study of Framework and Process Development for Cultural Product Design. In P. L. P. Rau (Ed.), Internationalization, Design and Global Development (Vol. 6775, 55-64): Springer Berlin Heidelberg. Jakobson, R. (1987) Language in Literature. Cambridge, MA:

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Belknap Press. Klir, G. J. (2005) Uncertainty and Information: Foundations of Generalized Information Theory. John Wiley & Sons. Kreifeldt, J., Lin, R., & Chuang, M. C. (2011) The Importance of “Feel” in Product Design Feel, the Neglected Aesthetic “DO NOT TOUCH”. In P. L. P. Rau (Ed.), Internationalization, Design and Global Development (Vol. 6775, 312-321): Springer Berlin Heidelberg. Laude, J. & Denomme, R. T. (1972) On the Analysis of Poems and Paintings. New Literary History, 3(3), 471-486. Leder, H., Belke, B., Oeberst, A., & Augustin, D. (2004) A model of aesthetic appreciation and aesthetic judgments. British Journal of Psychology, 95(4), 489-508. Lin, R. (2007) Transforming Taiwan aboriginal cultural features into modern product design: A case study of a cross-cultural product design model. International Journal of Design, 1(2), 4553. Lin, R. (1994) An Application of Fuzzy Graphic Rating in Icon Design. Mingchi Institute of Technology Journal, 26, 201-207. Maré, E. A. (2010) Can one “read” a visual work of art? South African Journal of Art History, 25(2), 58-68. Michel, K. F. (1999) Turning Poetry into Paintings: An Experiment in Visualization. Art Education. 52(3), 6-12. Norman, D. A. (1988) The Design of Everyday Things. New York: Doubleday.

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Norman, D. A. (2004) Emotional design–Why We Love or Hate Everyday Things. New York: Basic Books. Reber, R., Schwarz, N. & Winkielman, P. (2004) Processing Fluency and Aesthetic Pleasure: Is Beauty in the Perceiver’s Processing Experience? Personality and Social Psychology Review, 8(4), 364-382. Silverman, K. (1984) The Subject of Semiotics. New York: Oxford University Press. Silvia, P. J. (2005) Emotional responses to art: From collation and arousal to cognition and emotion. Review of General Psychology, 9(4), 342-357. Tiedens, L. Z. & Linton, S. (2001). Judgment under emotional certainty and uncertainty: The effects of specific emotions on information processing. Journal of Personality and Social Psychology, 81(6), 973-88. Worringer, W. (2007) Abstraction and empathy: A contribution to the psychology of style. Chicago: Ivan R. Dee. Yen, H. Y., Lin, C., & Lin, R. (2013) Analysis of Cognition Difference of Visual and Imagined Haptic Inputs on Product Texture. In P. L. P. Rau (Ed.), Cross-Cultural Design. Methods, Practice, and Case Studies (Vol. 8023, 157-164): Springer Berlin Heidelberg. Yeh, M. L., & Lin, P. H. (2014) Beyond claims of truth. Journal of Arts and Humanities, 3(1), 98-109. Yeh, M. L., Lin, R., Wang, M. S., & Lin, P. H. (2014) Transforming

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the hair color design industry by using paintings: From art to e-business. International Journal of E-Business Development, 4(1), 12-20. Zwaga, H. J. (1989) Comprehensibility estimates of public information symbols; their validity and use. Proceedings of the Human Factors and Ergonomics Society Annual Meeting, 33(15), 979-983.

論文引用： C. L. Lin, Jun-Liang Chen, S. J. Chen, and R-T Lin. (2015). The cognition of turning poetry into painting. US-China Education Review A&B, Accept.

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編後語 -

串聯虛擬與真實的「雲端」

說起「雲」，不論是東方水墨中的雲氣，抑或西方油畫中的雲彩，雲常伴隨著高山、森林，襯托著山水，使高山流水的形象看起來更意欲深遠而莫測，強韌挺拔的松竹也增添無盡詩意，讓畫中意境更為虛無飄渺，象徵無窮無盡的生命追尋。雲的出現都彷彿扮演著一幅畫的靈魂之窗、生命之眼，而筆者靜觀，本書畫作的主人李仙美女士，也藉由雲的意象延伸概念，而在無形中串聯了虛擬與實體的情感世界。認識李女士進而有榮幸欣賞其畫作，一開始僅只是因為李女士作為筆者指導教授林榮泰老師的夫人，習於尊稱師母。然而，稱呼師母久了，越發了解：如果僅只是將林師母視為一個熱情、爽朗又會關照學生的師母，或者是細心、體貼、大氣扶佐曾任校長的林教授的校長夫人，則只是片面、刻板的印象。其實，隱藏在刻板印象的背後，是作為一個風格獨具、有內涵、才華出眾、獨立的素人藝術家李女士，不單純只是林師母、林校長夫人的角色而已。林教授賢伉儷還有一個獨一無二的共同創作 : 其公子林之平兄，在資賦優異與個人努力下，之平兄很年輕就一路跳級，24 歲即取得麻省理工學院人工智慧領域的博士學位，並隨即受聘馬里蘭大學任教，未及“而立之年”即通過終身職 (tenure) 教授的考驗，近日又通過升等為正教授的考驗，並獲聘為加拿大滑鐵盧大學電腦工程學院的講座教授 (chair professor)。而「雲端運算」恰好是他的研究專業，有幸與世界級的大師成為研究團隊同僚，筆者更見識到，因著雲端科技，聯繫了遠在天邊的兒子和近在眼前的父母情感。說到了雲端，最早是因為工程人員在繪製網路架構圖時，以雲形圖象徵網路的一個示意圖，但演進至今，作為網路的「雲端」，藉由串聯伺服器，無限延伸網路的儲存與運算能力，使得「雲端」充滿

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人工智慧，變化多端，無限制的傳輸、儲存、運算能力及可能性，一如人們傳統上對於“雲”的認知，有“摸不著邊際、無窮無盡” 的相類似概念，這樣的科技發展，也促成了林教授一生學術生涯的重要貢獻：早年學習工業設計、工程管理到研發專家資訊系統，近年來卻鍾情於漢字、東方詩詞文化創意，並關注詩情畫意的深層認知探討，儘管如此，作為學生學習表率的林老師，卻仍無法忘情以雲端作為系統、多元文化創意整合於學術研究的可行性，於是乎，林教授以其近年來對於詩詞在文化創意的研究成果，開拓雲端這一概念的大框架，搭配師母李女士不慍不火、恰如其份，以詩詞做為繪畫創作雲端的題材，相得益彰的成就了跨領域研究的成果，則可由本書內容略窺一二。筆者有幸在林教授指導下，也嘗試運用雲端運算科技，進行創意應用方面的研究，同樣沉浸在雲端的世界裡，而雲的概念，自此便在林教授的手裡，轉換為詩情畫意模式，接續切換為師母李女士的繪畫藝術模式，再到之平兄的智慧科技模式，延伸到筆者的創意應用模式。雲端概念的大框架持續發酵，可以做為不同觀點的研究與論述，早已毋庸置疑，不論在表徵或意義的境界，最終仍然回到人性、情感層面─在雲的這一端，是虛像的情感、想像、文化、創意的接觸點，雲的另一端，是實體的感官、科技、表象世界的接觸點，儘管妙法自然，雲端不論是作為任何議題呈現出來，都自有因果，然而，這一切都源自於林教授賢伉儷今生今世鶼鰈情深的開始，僅以粗略筆記文字作為祝賀林教授賢伉儷，再一次完美的「共同創作」 ─ < 詩情畫意：仙雲之美 > 一書，為林教授賢伉儷歷經多年練功、沉潛、磨劍，兼具藝術與學術之作，為之誌慶。

馬睿平編輯協力國立臺灣藝術大學 / 創意產業設計研究所 / 博士國立臺北商業大學通識教育中心 / 兼任助理教授

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彩繪「美」的生活情趣

2011 年夏天，在台藝大創產所博士班迎新的場合認識師母，相較於恩師林榮泰教授不威而嚴的氣度，師母如同一抹清新的微風，讓生澀的我們安心而迅速的融入創產所的團隊。隨著團隊的活動，對師母的認識又更深入，這些年來在我的認知中，師母的確人如其名，唯有「美」可以成為她的註解。「美」在外在：適時適地呈現優雅氣質之美，是我對師母的第一個註解。師母是學商的，雖非服裝設計相關背景，但穿搭品味、造型、配色都能讓人眼睛一亮，可能歸因其本就是職業婦女、高階主管，經常旅居世界各地，對生活美學具有國際觀。「美」在內涵：東方女性的堅毅與順從之美，是我對師母的第二個註解。師母行儀得體，以家庭為主，雖有自己的一片天地，卻能夫唱婦隨，從職場走入家庭，成為輔佐先生之得力助手，具有傳統與現代且剛柔並濟的內涵之美。「美」在生活：信手拈油彩，詩情入畫之才情美，是我對師母的第三個註解。師母習畫多年，雖非科班出身，惟善於感受生活點滴並融入畫作；並能聽取建言、多方調整、勇於突破因而畫風多元。書中曾提到其子 Jimmy 寄了兩張關於雲的照片給她。她根據這兩張照片畫了兩幅相關的畫作，寄給 Jimmy 請他提供意見，結果一如往常批評多於指教；師母本想放棄，而老師則鼓勵面對挑戰，使她能繼續堅持完成相關畫作。因此，每有機會到老師家都能看到走廊，與屋內充滿師母賞心悅目的畫作，實為素人學畫的典範。老師在本書中以理性論述詩情，師母以感性繪出畫意，兩人在字畫間形影不離，就像現實生活中的鶼鰈情深，其中更包含老師對師

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母的深深感謝與愛惜，令人想起鄧麗君「又見炊煙」一曲所吟唱的 ... 詩情畫意雖然美麗我心中只有妳 ...，因此能為本書編輯設計，編者深感榮幸。本書的編輯設計概述如下，封面是擷取師母的畫作元素堆疊構成，並以白底予以襯托原本優美的配色，書名「詩情畫意」四字採用書聖王羲之的墨寶，引其在藝術界盡善盡美的成就推廣「美」的理念；內文編排，以簡潔為原則，在右上角頁首與左下角頁尾之對角線，以畫作元素「建築群」與「小舟」做出強調感，暗喻向上航向「美」的境地；整體排版則與老師之其他著作作一致性的呈現。優雅的生活情趣是我們滿足物質生活後，所期待的目標。當下臺灣的生活型態，猶如中國明代中期在經濟蓬勃，隨著思想開放的社會思潮，開始追求優雅的生活情趣。臺灣在傳承華人文化所做的努力，讓生活在臺灣的華人保有人格獨立與心靈自由，傳承深厚的文化底蘊，並擁有開放的國際視野，因此建立屬於臺灣的生活風格，讓生活品味融入美感，是當下我們心所嚮往的目標。林教授認為美感是天生的，我們如何決定買一個包包、一件衣服或甚至任何一件生活用品，其決策的過程都與美感有關，因而美感不是一種專屬於特定少數藝術家的天賦，因此我們不應該放棄對美的直覺感受，從師母學畫的過程就能一窺一二。全民美學的時代早就啟動，關於「美」，我們每天都在感受與體會，因此我們都能拿起彩筆繪出屬於自己生活的情趣與美感。

顏惠芸編輯設計國立臺灣藝術大學 / 創意產業設計研究所 / 博士中國文化大學 / 廣告學系 / 助理教授

183

國家圖書館出版品預行編目資料詩情畫意─仙雲之美習作經驗分享 / 林榮泰李仙美著初版 ,

新北市 : 林榮泰 , 2015 .09

192 面 ; ISBN

14.8 X 21 公分 .

978-957-43-2698-3 ( 平裝 )

1. 繪畫美學 940.1

104015214

仙雲之美習作經驗分享

作

者 / 林榮泰、李仙美

編輯設計 / 顏惠芸印

刷 / 宇晨企業有限公司

出版 / 林榮泰新北市板橋區 22058 大觀路一段 59 號電話：2272-2181 # 2604 出版日期 / 2015 年 09 月初版一刷非賣品