初入繪畫領域的三年中，筆者花了許多時間在基礎中摸索與學習，在此論文中，筆者希望藉由傳統中國工筆畫中的學習脈絡―臨摹、寫生、創作，開始逐步討論其重要性與所遇之難點，誠實地為未來可能閱讀的初學者作一紀錄與剖析。
筆者在同時在論文中，藉由訪談名家趙秀煥，取得第一手資料並為其脈絡性整理其一生對於創作之想法，並親身至北京學習其技法，對其理念輔以技法能加深理解其所思所想。以往對於趙秀煥資料記載，皆源於友人之序，或是藝評家撰文，如此之下的撰文時常溢於言表，情感流露。因此筆者在論文書寫中，呈現較為理性且客觀的角度為趙秀煥的繪畫歷程作一詳實紀錄。
筆者在創作中，除了對於傳統臨摹、寫生的實踐，在後期的創作中，更有別於傳統工筆花鳥畫，置入了屬於自己的繪畫語言「月半仔」，嘗試挑戰在傳統與現代繪畫中如何開脫，亦同時以敘事性的方式，為創作提高了延續的可能。在這樣的學習轉變過程中，筆者根據作品逐一記錄了所遇之困難與解套。
本文架構分為五個章節，第一章節中闡述筆者創作的背景與動機，並以文獻分析法、訪談法作為該次論文的研究方法；第二章節文獻分析中則歸納初中國畫中臨摹的方式，並加以製表闡述，進而談及寫生及其脈絡。同時在第二章節中筆者訪談了工筆繪畫名家趙秀煥，從生平開始、繪畫觀念、繪畫方式作逐步分析整理記錄；第三章節創作歷程與技法，呈現了筆者在創作時所感，以及如何建構出己身創作理念。在繪畫技法與媒材的選用亦逐一介紹。第四章節屬筆者創作析論，除作品本身所傳達寓意外，筆者記錄了創作時的難點與解套方式，希冀與之經驗相同的創作能夠因此解決；第五章節為結論，為整份創作論文統整作結。

During the first three years of entering the realm of drawing and painting, the author spent a lot of time learning and grasping its basics. In this thesis, the author hopes to use the path of learning about the art of the traditional Chinese gongbi (also known as ‘meticulous’) style of painting - first to imitate, then to sketch from nature, lastly to create - to begin step-by-step to talk about its importance and the difficulties encountered. The author wanted to create an honest record and analysis for future readers of this thesis who might also be beginners embarking on this technique.
Whilst in the process of writing the thesis, the author interviewed master Zhao Xiu-huan in order to receive and collate first-hand information on her thoughts about her artistic creations throughout her life. The author also personally went to Beijing with the purpose of studying this technique. With these two actions combined, the author was able to gain a better grasp of the whole concept of this technique. In the past, the author had received written information regarding Zhao Xiu-huan through the words of friends or the articles of art critics, and so this information would often be based upon feeling. Therefore, the author decided that in his own writing, he would choose to present a more objective and rational view of a full and accurate record of Zhao Xiu-huan’s artistic process.
While creating his own artwork, apart from the practices of imitating and sketching from nature, the author also in the later stages broke away from the traditional gongbi style of painting scenes of flowers and birds, but instead embarked on his own artistic language, to produce a series titled, Half Moon. He wanted to attempt to challenge and dissolve the boundaries between traditional and modern painting. At the same time, he wanted to use a narrative style to increase the chances of continuity in his artwork. In this process of change, the author talks about each piece of art in turn, to record the difficulties faced and the solutions found for each artwork.
The thesis has been split into five different chapters, the first chapter talks about the background and the impetus for this series of work, as well as uses the methods of documentary analysis and interviews as his research method. The second chapter, document analysis, summarizes the method of imitating in the initial stages of learning about Chinese painting, as well as uses tabulation in order to elaborate upon the points. It then discusses sketching from nature as well as the overall context. At the same time, in the second chapter, the author interviews gongbi master Zhao Xiu-huan, starting from her life, then her painting philosophy, and includes a step-by-step analytical record of her painting methods. Chapter three discusses the author’s own artistic process and technique, and displays the thoughts and feelings of the author during the creative process, as well as how one can construct one’s own creative philosophy. It also introduces one-by-one, the drawing and painting techniques and mediums used. Chapter four is an analysis of the artwork created. Apart from the implied meaning conveyed in each piece of art, the author records the difficulties faced in each piece of work, and describes the process for solving these problems. He hopes that those who encounter similar difficulties in using this technique can overcome their own obstacles too as a result. The fifth chapter concludes the thesis, and provides a conclusion for the whole series of artwork produced.

摘 要 I
目次 IV
圖目次 VI
表目次 VII
第一章 緒論 1
第一節 創作背景與動機 1
第二節 創作目的與方法 2
第三節 創作架構 2
第四節 創作範圍與限制 3
第二章 文獻探討 5
第一節 中國畫的臨摹、寫生 5
一、中國畫的臨摹 5
二、中國畫的寫生 8
第二節 探究趙秀煥藝術風格 15
一、趙秀煥生平 15
二、趙秀煥的創作觀 18
三、趙秀煥的風格特色 22
第三章　創作歷程與技法 32
第一節 創作理念 32
第二節 創作歷程 33
第三節 創作技法與媒材 37
第四節 創作題材 45
第四章 創作作品詮釋與分析 49
第一節 《過渡》系列 49
第二節 《出神》系列 68
第五章 結論 84
參考文獻 87
出版文獻 87
網路資料 88

出版文獻
1.張大千，《大風堂臨橅敦煌壁畫》，台北：藝文印書館，1972。
2.何懷碩，《給未來的藝術家》，台北：立緒文化事業，2003。
3.余秋雨，《藝術創造工程》，台北：允晨文化，1990。
4.陳瓊花，《自然、寫生、林玉山》，台北:雄獅圖書股份有限公司，1994。
5.王祥夫，《衣食亦有禪》，重慶：重慶出版社，2013。
6.蕭瀚，《當代中國美術家檔案.趙秀煥卷》，北京：華文出版社，2006。
7.洪平濤，《趙秀煥畫集》，台北：敦皇藝術股份有限公司，1997。
8.陳淑美，《2018太平洋國際詩歌節》，花蓮：花蓮縣文化局，2018。
9.林木，《劉國松的中國現代畫之路》，成都：四川美術，2007。
10.高以璇，《林玉山：師法自然》，台北：國立歷史博物館，2004。
11.何懷碩，《繪畫獨白》，台北：圓神，1987。
12.何懷碩，《藝術‧文學‧人生》，台北：大地，1986。
13.宗白華，《藝境》，北京：商務印書館，2011。
14.宗白華，《美學的散步》，台北：洪範，1982。
15.王嫣嫣、趙富強、趙海英，《花鳥畫》，長春：吉林文史出版社，2005。
16.周林生，《宋元繪畫》，石家莊：河北教育出版社，2004。
17.高行健，《論創作》，台北：聯經，2008。
18.于非闇，《我怎樣畫工筆花鳥畫》，杭州：浙江人民美術出版社，2016。
學位論文
1.孫翼華，《幽微裡的象徵：當代水墨創作意象中的陰柔氣質與指涉意涵》，2010。
網路資料
1.謝赫，《古畫品論》，南齊。檢自中國哲學書電子化計劃https://ctext.org/wiki.pl?if=gb&chapter=439636。(2019/7/29)
2.松年，《頤園論畫》，清。檢自中國哲學書電子化計劃https://ctext.org/wiki.pl?if=gb&chapter=738953。(2019/7/29)
3.鄧椿，《畫繼》卷十，宋。檢自中國哲學書電子化計劃https://ctext.org/wiki.pl?if=gb&chapter=486753。(2019/3/19)
4.張彥遠，《歷代名畫記》，唐。檢自中國哲學書電子化計劃https://ctext.org/wiki.pl?if=gb&chapter=722335。(2019/6/11)
5.釋普濟，《五燈會元》，宋。檢自中國哲學書電子化計劃https://ctext.org/library.pl?if=gb&file=5135&page=89。(2019/6/11)
6.陳建發，《青花符碼》，2015。檢自非池中藝術網https://artemperor.tw/artworks/29336。(2019/7/29)