摘要：
第壹章、緒論
筆者認為印象主義起，視覺藝術才真正的獨立，它擺脫了數百年來繪畫作為「畫以載道」的工具，畫家才開始享受以繪畫呈現視覺感受的經驗反映，不必透過繪畫來說故事以便藉此來教化大眾，這個將藝術無實用功能的觀念突破影響後世很大，梢晚的立體主義更是否決了人類視覺的客觀性，對景物以主觀的觀點和表現形式重新解構詮釋開啟「抽象繪畫」的潮流，從此繪畫關念瞬息萬變，直到二十一世紀初，這樣幾乎對藝術的本質進行革命的瘋狂年代裡，筆者以如何尋求創作的新方向作為研究的動機對分割表現進行名詞釋義，並確立研究範圍與內容 。

第貳章、分割表現形式的源起
筆者以塞尚在1896年之後他的出生地普洛凡斯畫下多幅以聖維多利亞山的作品，用寬扁的筆法作畫；重疊出面狀的形體或色塊，以表現一種新的形式，形了分割表現形式的萌牙，進而促成布拉克和畢卡索的分割表現形式的正式產生。

第叁章、分割形式的多元意函與探析
筆者在本章中以畢卡索和布拉克為首的立體主義畫家應用分割表現形式來闡述物象結構的手法；以及杜象以分割表現形式來闡述時間性過程的描寫手法；卡拉.卡羅和巴拉‧捷科摩的作品以分割表現形式來闡述速度的描寫手法；保羅‧克利和蒙德里安.彼雅特的作品以分割表現形式來闡述音樂的描寫手法；以柯拉爾.吉利和瓦沙利‧維克多以分割表現形式來創造出視覺錯覺的描寫手法；以美國藝術家德慕‧查理士用分割表現形式來創造出光線的描寫手法，論述在美術史發展中分割表現形式上被應用於表現不同理念的狀況。
第肆章、創作思想與理論基礎
筆者以個人創作理念的發展和成長背景與學習經歷以及個人選擇以水彩作為創作理由的的意義與價值，並對創作內容、形式、技法與媒材，個人創作中如何以分割表現形式來闡述，光與影的新詮釋、空間與空氣的互動、畫家與對象的「動」與「靜」的對應關係，並藉由分割表現形式來創造穿透與空間層次等。

第伍章、作品創作自述
筆者分別以列舉永恆的神殿、藝術宮仲夏、殿堂之秋、林間、流動的風和水等五件風景繪畫的作品來論述分割形式作的應用；以交織花香、神性與母性、夏季的節奏、陽光的膜拜等靜物繪畫的作品來論述分割形式作的應用；以美的語彙、休憇中的女體等人物繪畫的作品來論述分割形式作的應用。

第陸章、結論
筆者認為，認定畫家要想畫好都必需百分之百來自生活的體驗，才能具有「時代性」與「獨特性」，因為藝術創作最生動最美的因素全蕴藏在生活之中，是畫家將之發掘使大眾引起共鳴的法則；在這次筆者的研究中以風景、人物、靜物等多種題材，藉由水彩獨有的媒材特性，透過變型、分割與造形重組的形式，感性暨主觀的展現畫面中色彩層次的多變與律動,在取材上不免依然受到傳統繪畫的制約，未來應嘗試以更多元的現代化與科技性主題來探索，展現了個人特有的表現特質繼續創作和發展。

Abstract：
Chapter 1. Introduction
I think visual art was not an independent art form until the rise of impressionism, as from that period on, it was no longer just the means to carry out the functions of telling or describing a story to educate the public; they can simply be the reflection of the artists’ experiences. To have this concept that the arts themselves do not have any purpose is an important break through for the development of the arts. And afterwards, cubism even totally denied the objectivity of human’s visual experiences, empowering the artists to deconstruct and interpret paintings in their own subjective viewpoints and expressionistic forms, thus initiating the school of “abstract paintings.” Along with such expressionistic forms come all kinds of different concepts about paintings. In the beginning of 21 century when the essences of arts are going through drastic changes, I will search for a new angle for my research, and explain the terms of divided planes and expressionism to mark the boundary of my study and establish the contents.

Chapter 2. The Origin of Plane Division and Expressionism
Since 1989 , French painter Paul Cézanne did many paintings of Mont Sainte-Victoire, the mountain of his hometown. Breaking away from traditional art form, his distinctive, overlapping flat brush strokes made up shapes and forms of objects, planting the seeds of divided planes and expressionism. Later on, from this new art form developed the full-blown stage of divided planes and expressionism of Braque and Picasso.

Chapter 3. The Various Meanings and Analysis of Divided Planes
In this chapter, I will explain the approaches used by Picasso and Braque about their applications of divided planes to show the structures of objects; by Duchamp to represent the progress of time; by Carra Carlo and Balla Giacomo to describe speeds; by Paul Klee and Mondrian to manifest music; by Kolar jiri and Vasare Victor1 to present optical illusion; by American artist to depict light. Based on all of these, I construct my report on the various applications of divided planes and expressionistic forms utilized by artists in the development of the art.

Chapter 4 . Thoughts and Theoretical Foundation of Creation
With the development of my thoughts on creation and my academic background, life experience, I choose watercolor as a means to express my value, and via the contents, forms, techniques, and medium, I demonstrate my new interpretation of light and shadow, the interaction of space and atmosphere, the relative relationship of “movement” and “stillness” between the painter and the painted objects, and the penetrations and overlapping of spaces by means of divided planes and expressionistic form.

Chapter 5. Statement about My Creative Art Works
I use 5 landscape pieces—“The Eternal Temple Of Gods,” “Summer Time At The Art Palace,” “Autumn Of The Palace,” “In The Woods,” “Flowing Wind And Water”—to illustrate the application of divided planes and expressionism; several still life paintings—“Woven Flower Fragrance,” “Godhood And Motherhood,” “The Rhythm Of Summer,” “Worship Of Sunlight”—to illustrate the application of divided planes and expressionism; and the portrait pieces of “The Vocabulary Of Beauty,” “Female Nude In Rest” to illustrate the application of divided planes and expressionism

Chapter 6. Conclusion
I think that great works of art always have the era-related characteristics and uniqueness, which must come from the artists’ own life experience, as the aesthetic elements that can touch viewers and strike a cord among them lie in everyday life. This is the common approach used by many artists. In my study, I analyze the landscape/portrait/still life works of watercolor; the medium’s uniqueness; the transformation, division, and reconstruction of artistic forms so I can subjectively and objectively demonstrate the subtle change of different colors and rhythms. Although my themes are subject to the limitation of traditional paintings, in the future, I will explore the multi-fields of modern technology to show my unique expressive personality; meanwhile, I will continue to create art works.

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網路文獻
1、http://tw.knowledge.yahoo.com/question/?qid=1306041506671（2006/11/22）
2、見（圖像學）
http://tw.knowledge.yahoo.com/question/?qid=1306062714883（2006/10/26）
3、〈藝術資訊館〉
http//www.srtparknol.com/info-over101.php?over=047(2006/12/21)
4、http//www.taconet.com.tw (2006/12/22)
5、http//www. Theatre.ntu.edu.tw(2006/12/21)視覺素養學習網