在我的膠彩創作之中，花語系列的作品主要源自於我的軍中生活，在那個平乏無趣的生活圈子裡，我漸漸習得了苦中作樂的本事，嘗試著在例行的修剪花木工作中找到那份快樂，在修剪草木的時光之中，得以享有自己的安靜片刻，與花朵們竊竊私語的同時，也是在與自己對話，而這些群芳花姿，令我聯想到身邊周圍的女性友人，於是我將這些朋友的形象速寫下來，再搭配適合他們個性的花朵，而完成了我的此階段創作。
繼而是變形魚、變形鳥系列，此系列源於將自身的不完美投射魚金魚及鳥類的畸型體態之中，金魚往往只供賞玩，而缺乏對外在環境的適應能力；而園林中的觀賞鳥亦復如是，逃不出牢籠般的宿命，在一方自我的世界之中過著畸型荒誕的狹隘生活，兩個生物嬌貴且缺乏自我求生能力的特質接近我的生活狀態，他們的外型格外吸引我的變異之眼，於是我將它們畫下，刻意誇張它們畸形的體態，以滿足自我的投射及幻想。
本研究是先有繪畫的產生，後設性的去找尋創作動機，先從收集動植物的個體資料著手，包含科學用的圖譜，以及歷史人文方面的脈絡，進而從藝術史當中找尋同樣也是以花卉及魚鳥為創作主題的藝術家。我的作品總透漏著自己的戀物情節，但我認為與其這麼說，不如說是「鏈物情節」更為恰當；那些存在於我身活周遭的動植物，乘載著我的情感，將他們轉換為繪畫的過程中，仿如將過往的生命歷程串聯起，成為一條有故事的鏈鎖 。

Among my glue color painting, flowery themes were generated from my military service period which was a monotonous life experience. In order to seek some joy in the bitter army environment, I found a source of happiness as well as quietness by pruning bush or trees in the gardens. The lovely flowers or blossoms were like my intimate friends with whom I felt happy to whisper constantly. It was also a cordial dialogue with my internal self. Gradually I connected in my mind these beautiful and fragrant blooming plants with those elegantly young ladies whose figures were mean to be captured on paper. Afterwards, I meticulously collocated flowers were presumed to suit properly the images' characteristics and support the themes in perfect condition, thus completing series works.

Then, I developed a series of works classify as deformed fishes and birds, to dialogue with my personal imperfection. Usually the gold fish is kept to display yet without capability to adapt itself to any new environment. In the meanwhile, the bird in the woods for people watching also encounter the same fate of remaining permanently in various types of cages. These categories of animals live in their respective ways which can be deemed as delicately yet abnormally for their lack of self-sustaining property. Such malformed situation is somewhat similar to my status. Their physical appearances attracted me then go on depiction, the exaggerative deformed shapes were then purposely to satisfy my own spiritual reflection and illusion.

By doing so, this thesis is initiated with the intention of glue color painting, supported by repeating creative motives. In chronological order, I organized the painting works as follow: collecting the objects' individual reference materials including illustrated plates for scientists, as well as the trains of recorded ideas/articles in history or humane studies; tracing the works done by venerable senior artists who also majored in the glue color painting of flowers, fishes or birds. All of the works disclose fairly my instinctive passion for the aforesaid objects just like chains for binding tightly the treasures. After all, it may be appropriate to name my specific circumstance as "chained-object sentiment" .The existence of the creatures and plants close to me actively influences my mental world. Whenever they appear in my painting, the above-mentioned invisible chains link tightly the protagonists and my emotions.

第一章 緒論…………………………………………………………………………………………………………1
第一節 研究動機與目的……………………………………………………………………………… 3
第二節 研究內容…………………………………………………………………………………………..6
第三節 研究方法…………………………………………………………………………………………..9
第二章 圖譜………………………………………………………………………………………………………12
第一節 從花卉圖譜到花繪………………………………………………………………………….12
第二節 歷史中的花卉圖譜………………………………………………………………………….13
第三節 近代的花卉圖譜……………………………………………………………………………..19
第三章 台灣的膠彩畫…………………………………………………………………………………….25
第一節 自然.寫生-林之助……………………………………………………………………………26
第二節 肉身.跨界-王怡然……………………………………………………………………………29
第三節 心象.符號-饒文貞……………………………………………………………………………33
第四節 小結………………………………………………………………………………………………… 36
第四章 匠心………………………………………………………………………………………………………38
第一節 花事………………………………………………………………………………………………… 38
第二節 花與人……………………………………………………………………………………………. 43
第三節 若是魚……………………………………………………………………………………………. 61
第四節 若是鳥…………………………………………………………………………………………… .86
第五節 創作技法與步驟…………………………………………………………………………… .92
第五章 結語………………………………………………………………………………………………. 100
參考書目………………………………………………………………………………………………………… 103

《藝術收藏+設計雜誌第五十八期》，台北：藝術家出版社 2013。
《藝術家雜誌463期》，台北：藝術家出版社，2013。
黃利，《花卉之書》，北京：光明日報出版社。
王建，《西方靜物畫探微》，北京：如果出版社，2006。
許淑婷著，《論1985年後台灣膠彩之當代性-以李貞慧、 王怡然 、饒文貞為例》，2011。