本創作研究由風景題材出發，從追縱自然景物的動態軌跡，轉化為對時空軌跡的聯想。我著重於運用筆觸描繪景物和氣流之間的能量流動與堆疊，意圖在畫面中引導視覺的觀看與感知。並在創作論述中，藉由自身對風景意象的感知，以及風景經內化後重塑為繪畫語言的過程，來分析個人視知覺的感受。在繪畫創作中，利用視知覺經驗下誕生的筆觸樣貌，建立物件與空間的聯繫，探討在畫面空間中運行的動勢觀感。

本論述共分為五個章節。第一章〈緒論〉，確立我創作的研究動機與目的，以及研究內容與方法。第二章〈創作思維的啟發〉，研究西洋風景繪畫歷史文獻，了解不同時期藝術家的觀看思維和繪畫語言的發展。並藉由梳理視知覺理論中關於畫面運動的相關論述，探討繪畫創作中的視覺經驗與畫面空間的相互關係。接著例舉三位藝術家的繪畫作品，分析畫家如何在平面繪畫中表現動態能量。第三章〈創作理念與技法〉，闡述我在觀看風景時所感悟的空間構成，並說明我的創作的程序與方法。第四章〈作品分析〉，依循我研究所期間的創作脈絡，講述我在創作的想法上由描繪流變的風景樣貌，轉變到人們之間的共同感受，最終畫面形塑成記憶疊加的場域氛圍。第五章〈結論〉，釐清自身的觀點，總結自己在研究所期間的成果與反思，以及提出未來創作之展望。

This research originates from landscape themes, tracing the dynamic trajectories of natural elements and transforming them into associations with the trajectories of time and space. My focus is on using brushstrokes to depict the energy flow and layering between scenery and airflow, aiming to guide visual perception and observation within the composition. In the creative discourse, I analyze personal visual perception through my sensitivity to landscape imagery and the process of internalizing and reshaping it into the language of painting. In my painting practice, I employ brushwork derived from visual perception experiences to establish connections between objects and space, exploring the sense of movement and dynamics within the pictorial space.
This thesis is divided into five chapters. Chapter 1, "Introduction," establishes the motivation and purpose of my creative research, as well as the content and methodology of the study. Chapter 2, "The Inspiration of Creative Thinking," explores historical literature on Western landscape painting to understand the visual perspectives of artists and the development of painting languages across different periods. It also draws on theoretical discussions from visual perception studies concerning pictorial movement to explore the relationship between visual experience and pictorial space in painting. The chapter concludes by analyzing the works of three artists to investigate how dynamic energy is conveyed within the medium of two-dimensional painting. Chapter 3, "Creative Concepts and Techniques," elaborates on the spatial structures I perceive when observing landscapes and explains the processes and methods involved in my creations. Chapter 4, "Analysis of Works," traces the development of my creative work during graduate school, describing a conceptual shift from depicting the transitional appearances of landscapes to conveying collective human experiences, ultimately shaping a spatial atmosphere layered with accumulated memories. Chapter 5, "Conclusion," clarifies my perspectives, summarizes the achievements and reflections from my time in graduate school, and offers an outlook on future creative work.