透過寫生造境，本篇論文以「生態工筆」為主題，目的為探討將台灣生態多樣性，利用傳統工筆與現代多元的複合媒材互相結合組構，創作出自我風格的工筆新象。
工筆繪畫由最早的戰國帛畫歷經唐宋五代傳承至今，經過千年畫法和畫技及材料演變，面相發展多樣但受文人畫抒發情境的影響，傳統工筆的景物搭配多是隨興或是富貴吉祥話語取向，所畫的鳥類及走獸植物搭配雖然皆有其寓意，但這樣的畫面或許唯美卻跟環境無關，已經失去宋代理學寫生考據的精神，所以這不加入生態科學性的搭配法，至今也少有工筆畫人深入探討。
筆者透過「生態藝術」(Eco-art，Ecological Art)–以藝術表現生物與生物，生物與環境的互動關係之定義完成與現代工筆相結合，並經過實地觀察取景的田野調查，藉由「寫生造境」的自我醒悟階段，並附加自我的藝術思想、造型觀念且透過傳統中國文人思維組構「造境」，最後形成工筆創作。「生態」則是指元素材料的收集觀察，來創作台灣特有種花卉、鳥類、哺乳類動植物，針對台灣特有種鳥類及珍稀哺乳類，尋找棲地植物與物種的關係，加入科學性觀察、實地寫生、照相取材、文獻比對來創作符合現代的生態工筆繪畫。
本研究並深入探究台灣工筆花鳥畫源流及生態藝術源流、分析時代氛圍下漸變的繪畫樣貌，藉以瞭解現代工筆藉由複合媒材呈現的當代性定位，清晰個人思路確認創作方向及目標，並期許自我能開闊視野接受新媒材新觀念，拓展個人新繪畫語彙。

Conceived through sketching to build scenes, this paper, taking its theme of ecological fine figure brushwork, aims to investigate how biological diversity in Taiwan may engender new individual styled fine figure brushwork painting by combining traditional fine figure brushwork and modern multi-faceted composite media.
Since its beginning in silk painting in the Warring Nations and through the developments in Tang, Sung, and the interim Five Dynasties, over a millennium of changes in technique, method, and material, traditional fine figure brushwork is multifaceted but tends to have objects and scenes that are either free or congratulatory, as influenced by literati painting which emphasizes on showing scenarios. For this reason, the birds, beasts, and plants painted, though having their own meaning, are unrelated to the environment though being beautiful. In philosophical terms, fine figure brushwork has lost its spirit of sketchbook from Neo-Confucianims (Li-xue) in Sung Dynasty. As a result, such combination without ecological or scientific concern is now little investigated.
Through ecological Art, or artistic expression of both interaction between creatures and relationship between creatures and the environment, I will blend this definition with modern fine figure brushwork, and, with actual on-site field observation and through self-epiphany from building scenes through sketching, add personal thought, shape concepts and build scenes through traditional Chinese literati thinking, finally becoming my fine figure brushwork. “Ecology” refers to the collection and observation of elements and materials that will create indigenous flowers, birds, mammals, and plants in Taiwan and find the relationship between plants and species with special focus on Taiwan indigenous birds and rare mammals, with scientific observation, on-site sketching, photographing, and literature survey. The result is an up-to-date ecological fine figure painting.
This paper also delves into the origins of Taiwan fine figure painting and of ecological art, analyzing the transforming scene of painting, in order to understand the position today for modern fine figure painting through composite material and to clarify personal thoughts that set the creative direction and aim. I also hope a new view may be opened for new materials and new concepts, so as to broaden personal concepts in painting.

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