創作者國小至研究所繪畫歷程中，自小對於工筆人物畫—仕女即有強烈興趣與感興，能以此察覺自身的存在感，故意象抽離現實的禁錮嚮往一番世外桃源。本創作主要自工筆白描、當代複合媒材以及印後加工轉印技術與媒材要素切入，以美學與藝術思維探索創作本質，闡述並探究創作者之創作歷程，最終反思與討論傳統性文藝與創新，希冀此創作歷程能使相關閱聽人有所啟發，並以當代蔡嵐、溫書強、金大鈞作為臨摹對象，以及對於古時宋徽宗摹張萱〈搗練圖〉，重新描繪與詮釋，進一步與系上技術結合與創新，體悟線條與自我的關係，以《重線》雙關「重現」，為再現之意。並於民國107年5月16至5月29日期間之國立臺灣師範大學圖書總館一樓大廳，舉辦「現代網『點』與仕女重『線』－創作成果聯展」。本創作論述提出四個創作問題，分別為：(一) 創作者於民國106年赴中國學習理論之藝術學、美學、中國書法藝術美學之過程，對創作之啟發及影響為何？(二) 以傳統工筆白描、當代複合媒材與印後加工轉印技術所呈現之摩擦為何？(三) 創作者於創作期間的心理變化與自我對話為何？(四) 創作者於國立臺灣師範大學圖書總館之展覽成果及閱聽者回饋與反應為何？因此本創作論述欲針對自身創作實踐。成果於作品系列、電子宣傳品、展覽回饋中得以闡發，結論分別為: (一) 學習與理解中國藝術相關理論更能助於書畫，以及於中國韻味下，更能有所感興與消融。(二) 對於材質特性的瞭解與選擇，能造就成品的關鍵，其材質與線條之間的效果，除了技術上的熟練與注意，是否能以當代媒材凸顯傳統仕女為主要。(三) 期間心理變化具有起伏，對話也於停頓、遲疑才油然產生。(四) 作品與閱聽者互動、感興並反思，達到文化保存的目的。

In the creator’s painting process from elementary school to graduate institute, she has always had a keen interest in fine-brushwork painting of classical ladies, who have always aroused her awareness of sense of existence. Because of her longing for the ancient paradise, she withdraws from the reality through imagery. Therefore, the process of this creation consists mainly of traditional Chinese baimiao fine-brushwork painting, contemporary mixed media, the technology of finishing and post-printing, by which she not only imitated the paintings of contemporary painters Cai Lan, Wen Shuqiang, and Jin Dajun, but also conducted re-line drawing and re-interpretation of “Court Ladies Preparing Newly Woven Silk”, which was originally painted by Zhang Xuan and imitated by Emperor Huizong of Song Dynasty. Her aim was to understand the relationship between the drawing lines and herself through the technologies which she had learned from her department and tried to innovate. The purpose to discuss this creation is to explore the nature of creation within aesthetics and art thinking, to expound and realize the creation process of the creator, and finally reflect and discuss the issues of traditional art and its innovation. In addition, the creator hopes this creation can inspire the relevant audiences. The creator held the “Joint Exhibition of Creative Achievements: Innovation and Reinterpretation of Artistic Screening Style and Traditional Chinese Painting of Beautiful Women” at the first-floor hall of the major library of National Taiwan Normal University from May 16th to May 29th, 2018. "Re-Line", which was mentioned in her Chinese theme is a pun to "Re-Presentation", for the meaning of re-creation. The discussion of this creation raises four questions: (1) What are the impacts and enlightenments on her creation after the creator has learned art theory, aesthetics, and aesthetics of Chinese calligraphy? (2) What are the frictions in presentation caused by intersection of traditional Chinese baimiao fine-brushwork painting, contemporary mixed media, the technology of finishing and post-printing? (3) What are the creator’s psychological changes and self-talk during her creation process? (4) What are the results of the creator’s exhibition at National Taiwan Normal University and what are the viewers’ feedbacks and responses? The results of the creation have been presented in the series of works, electronic advertising materials and the feedback of exhibition in the context. The conclusions are as follows: (1) Learning and understanding the theories of Chinese art is helpful to the performance of creator’s paintings and calligraphy, while the traditional Chinese atmosphere and environment are also promoting the combination of creator’s feeling and creation. (2) The understanding and selection of material properties is the key to creating a good finished product. In addition to the need to pay attention to technical proficiency, how to clearly present traditional classical ladies by contemporary media is the main point to demonstrate the integrated effects of materials and lines. (3) There are ups and downs in the creator's psychological state during her creation, and the self-talk only occurs in the state of pause and hesitation. (4) Interaction, inspiration and reflection do occur between the works and the audiences, which can achieve the purpose of cultural preservation.

一、期刊
余輝 (1995)。張萱‧周昉 (盛唐‧中唐)。中國巨匠美術週刊，040，1-32。
李湜 (2003)。北京故宮藏仕女畫。故宮文物月刊，21 (3)，28-38。
周千秋 (1968)。白描畫法創始者李公麟。中國文選，9，123-127。
畏冬 (1992)。男耕女織的古代中國之九—唐 張萱〈搗練圖〉與周昉〈揮扇仕女圖〉，歷史月刊，53，4-5。
殷登國 (1983)。白描聖手李公麟。文藝月刊，164，27-35。
劉芳如 (1988)。中國仕女畫之美。故宮文物月刊，6 (2)，20-35。
蔡永明 (2005)。傳統印刷與數位印刷對轉印之應用。印刷科技，21 (4)，61-85。

二、書籍
(一) 中文書目
王一川 (2015)。藝術學綱要。北京：高等教育出版社。
王宗英 (2009)。中國仕女畫藝術史。南京：東南大學出版社。
任道斌 (2004)。中國繪畫。香港：三聯書店有限公司。
朱光潛 (2012)。朱光潛全集 談美 文藝心理學。北京：中華書局。
余城 (1987)。中國書畫1—人物畫。臺北市：光復書局股份有限公司。
周憲 (2015)。美學是什麼。北京：北京大學出版社。
林品章 (2013)。設計學方法論。臺北：桑格文化。
徐麗慧 (2014)。中國傳統仕女藝術。上海：上海辭書出版社。
高行健 (2011)。論創作。臺北市：聯經。
陳兆復 (1988)。中國畫研究。臺北市：丹青圖書有限公司。
葉朗 (2009)。美學原理。北京：北京大學出版社。
劉梅琴 (2010)。藝術思維的現代詮釋。臺北：史博館。

(二) 外文書目
Shaun McNiff (1998). Art-Based Research. UK: Jessica Kingsley Publish.
林靜一 (2015)。林静一美人画集。東京:学研パブリッシング (JP)。

(三) 翻譯書目
古曉梅 (譯) (2013)。托爾斯泰藝術論。臺北市：遠流。(Лев Николаевич Толстой, 1909)
艾彥 (譯) (2014)。藝術的意味。南京：譯林出版社。(Moritz Geiger, 1986)
沈耿立、李斯毅 (譯) (2012)。安靜，就是力量。臺北市：遠流。(Susan Cain, 2012)
周明佳 (譯) (2014)。美的救贖 遇見自己的瞬刻。臺北市：典藏藝術家庭股份有限公司。(Charles Pépin, 2013)
韋啟昌 (譯) (2014)。叔本華論道德與自由。上海：上海人民出版社。(Arthur Schopenhauer, 1840)
張旭春 (譯) (2014)。藝術中的理性。北京：北京大學出版社。(George Santayana, 1905)
張雅億 (譯) (2013)。設計大師語錄。臺北市：麥浩斯出版。(Sara Bader, 2013)
梁錦鋆 (譯) (2011)。藝術的意義。臺北市：遠流。(Herbert Read, 1931)
楊家昌 (譯) (2014)。草間彌生×圓點執念。臺北市：城邦文化出版。(くさま やよい, 2013)

(四) 編輯
任率英 (2017)。線描技法。載於任夢璋 (主編)，任率英畫工筆重物人彩。北京：北京工藝美術出版社。
金大鈞 (2014)。金大鈞。載於劉建超 (主編)，中國畫線描 百美畫譜。天津：天津楊柳青畫社。
張大千 (1988)。張大千 畫說。載於高嶺梅 (主編)，張大千 畫。臺北市：藝術圖書公司。
梁雪 (2017)。起源。載於梁雪 (主編)，白描從入門到精通。北京：人民郵電出版社。
許禮平 (1994)。葉淺予評說大千人物畫。載於許禮平 (主編)，名家翰墨—中國近代名家書畫全集1張大千／仕女。香港：翰墨軒。
溫書強 (2015)。溫書強。載於陳軍、趙宇 (主編)，工筆線描畫譜 仕女。天津：天津楊柳青畫社。
蔡嵐 (2013)。序。載於蔡蜀英 (主編)，蔡嵐工筆人物畫集‧白描卷。重慶：重慶出版社。
羅寒蕾、張見、李傳真、王冠軍、孫震生、沈寧、徐華翎、陳川 (2014)。羅寒蕾。載於陳川 (主編)，工筆新經典 人物畫技法。南寧：廣西美術出版社。

三、網址
中國現當代美術文獻研究中心 (2009)。搗練圖 張萱 唐代。取自：https://www.google.com/culturalinstitute/beta/asset/%E6%90%97%E7%B7%B4%E5%9C%96/FgHUyRfjbIIXAg?hl=zh-TW
國立臺灣師範大學圖書館電子報 (2018)。2018年4到5月藝文展覽介紹。取自:
http://www.lib.ntnu.edu.tw/enewspaper/news/librarynews.jsp?issue=E567ADFC
-FE84-3F1C-EB72-62B4C81B0336
湖南省博物館 (2017)。人物龍鳳帛畫。取自： http://www.hnmuseum.com/zh-hant/content/%E4%BA%BA-%E7%89%A9-%E9%BE%8D-%E9%B3%B3-%E5%B8%9B-%E7%95%AB
藝術與建築索引典 (2010)。當代 (依一般年代區分之風格與時代)
Contemporary (style of art)。取自：
http://aat.teldap.tw/AATFullDisplay/300264737
藝術與建築索引典 (2010)。圖像再現 representation (form of expression)。取自：
http://aat.teldap.tw/AATFullDisplay/300069747
藝術與建築索引典 (2010)。複合媒材 mixed media。取自：
http://aat.teldap.tw/AATFullDisplay/300163347
讀古詩詞網 (2017)。子夜吳歌‧秋歌。取自:
https://fanti.dugushici.com/ancient_proses/7643
Museum of Fine Arts Boston (2018). Court ladies or Pin-Up Girls? Chinese
Paintings from the MFA, Boston. Retrieved from
http://www.mfa.org/exhibitions/court-ladies-or-pin-up-girls