1、緒論及課程介紹
2、塞尚的疑惑
3、繪畫中的身体
4、繪畫元素的平面條件
5、中國水墨畫的媒材自律性
6、繪畫內在表達的危機
7、繪畫的物性
8、繪畫本體論的消亡
9、期中作品發表及討論
10、繪畫的認識論轉向
11、繪畫的客觀歡愉
12、身體感的式微
13、影像繪畫或新媒體繪畫
14、超平面及卡漫繪畫的意義
15、影像圖層及繪畫平面問題再探
16、當代繪畫的轉向-從媒材性到媒體性
17、台灣繪畫的侷限與出路
18、期末作品發表及創作自述

1.Introduction and Course Overview
2. Cézanne’s Doubt
3. The Body in Painting
4.The Two-Dimensional Conditions of Painting Elements
5.The Material Autonomy of Chinese Ink Painting
6.The Crisis of Internal Expression in Painting
7.The Materiality of Painting
8.The Demise of Painting Ontology
9.Presentation and Discussion of Midterm Works
10.The Epistemological Turn in Painting
11.The Objective Pleasures of Painting
12.The Decline of Bodily Sensation
13.Image Painting or New Media Painting
14.The Significance of Superflat and Manga Painting
15.Re-exploration of Image Layers and Two-Dimensional Problems in Painting
16.The Shift in Contemporary Painting—From Materiality to Mediality
17.The Limitations and Prospects of Taiwanese Painting
18.Presentation of Final Works and Creative Statements