本創作論文將描述個人繪畫技巧及過程，從觀察靜物至影像表現之描繪手法，從造型到思索引入內容意義，從照相寫實到局部抽象的象徵符號，從現階段的殘骸形像呼應個人情感的體會，最後從系列作品中整理個人的思考脈絡。全文共分六個章節：「緒論」、「思路與實踐」、「鋪陳古典之路」、「向古今藝術家借鏡」、「靈魂容器」及「結論」。

第一章「緒論」，包含創作的背景、動機、研究範圍與研究方法。由最初畫圖對作者本身的意義，接續思考人與物，物與我的關係，以小便斗形像之作品為開端，延伸不同系列創作的探究與技法的研究創新。

　　第二章「思路與實踐」，以容器造型為開端，探討靈魂與容器的關係，分析物件與作者心靈情感層面關聯性。在表現手法上，將闡釋畫面中出現的磨除法、噴灑、單色及背景的意義，並敘述利用技法詮釋畫面與形式及其能量的累積。

　　第三章「鋪陳古典之路」，將說明基底材料的學習與研究，各種打底的技巧、方式及優缺點，同時交代繪畫技巧的歷史脈絡，從一萬五千年前的洞窟壁畫，至中世紀的蛋彩(Egg tempera)、乾壁畫(fresco-secco)、濕壁畫(Fresco)、坦培拉(Tempera)及油彩(Oil painting)。

　　第四章「向古今藝術家借鏡」，以古典畫家凡．艾克(Jan Van Eyck,c.1390-1441)確立油畫技法至提香 (Tiziano Vecellio,ca.1488/90-1576,known as Titian)、魯本斯(Peter Paul Rubens ,1577-1640)，其間的油畫發展與變革，藉以研究古典畫家技法來分析自我創作形式。此外，從當代照相寫實畫家，克羅斯(Chuck Close,1940-)、與半寫實半抽象的歐姬芙(Georgia Totto O’Keeffe ,1887-1986)的作品中，理解他們的繪畫脈絡及過程，產生個人創作啟發之作用。　

　　第五章，「靈魂容器」，將敘述個人從2013年以古典寫實繪畫描繪的「小便斗」系列，微觀抽象化的孔洞意義，基底材料及繪畫技巧的轉變，進而發展出以磨擦消除技法所繪製的「孔洞」系列及「靈魂容器」系列。

　　第六章「結論」，本章節包含總結與未來發展，體認創作與技法對自己的重要性，並且期待自己未來持續在繪畫領域耕耘，展現更多元豐富的創作新氣象。

This research paper aims to describe my painting skills and the procedure among the creation. The content includes the painting skills of still-life and image reproduction, the connection between the surface of the artworks and the meaning of its adoption, photorealism, and semi abstract symbolic icons. Meanwhile, my creations are in correspondence to the awakening of personal emotion through the images of pieces of wreckages. By working on different series of artworks, I also approach a clear idea. This study is consisted of six chapters as following:

In the first chapter, The Introduction, I’ll explain the background and the motivation of my creation including questions about the meaning of the painting, and the relationship between people and objects. I’ll also utilize the image the urinal as a beginning, then explore more possibilities and trying new skills on different series of artworks.

In the second chapter, Thinking and Practice, I’ll explore the shape of the container focusing on relationship between the object and author’s emotion. To interpret the form and the power of the image, I’ll demonstrate my painting skills of grinding and spraying, and the implication behind the use of the single color and background.

In the third chapter, Classical Road, I’l focus on the research of the painting base such as skills, method, and the pros and cons. At the same time, the content will involve with the painting skills history from the cave painting fifteen thousand years ago to the egg tempera, fresco-secco, tempera, and oil painting in the middle age.

In the fourth chapter, I aim to study the oil paintings’ skills, development and transmutation of the renowned Classicism painters such as Jan Van Eyck, Tiziano Vecellio, and Peter Paul Rubens in order to further analyze his own way of creation. In addition, I have been inspired by Chuck Close, a modern photorealism painter, and Georgia Totto O’Keefee who is good at the combination of semi abstract and realistic art through the understanding of their painting procedure.

In the fifth chapter, I’ll trace back to the year of 2013 when the idea of artworks- Urinal series was founded. I’ll present more details about the link to my artworks in later years and demonstrates my change on the base materials and painting skills. Then, these changes eventually influence my new series of works including “Hole” series and “Soul Vessel” series.

Lastly, this paper is concluded with my personal reflection on the way of painting and expectation toward my future development.

陳景容，《油畫-畫法及演變》，台北：水牛圖書，1989。
王勝，《西方傳統油畫三大技法》，台北：國立歷史博物館，2000。
姚爾暢，《油畫材料與技法》，合肥：安徽美術，2008。
成寒著，＜花、骨頭、泥磚屋＞，時報文化出版企業股份有限公司，2007。
陳淑華，《油畫材料學》，台北：洪葉文化，2000。
封一函，《超級寫實主義》，北京，人民美術，2002。
Jeffrey Hogrefe著，毛羽譯，《美國畫家歐姬芙》，台北市，方智，1997。
謝易辰，《熟悉的溫度-謝易辰創作自述》，國立高雄師範大學藝術學院美術系碩士班創作組指導教授陳明輝，2013。