碩士 / 長榮大學 / 視覺藝術研究所 / 97 / Chinese traditional ink painting is a fruitfully national structural achievement. It has experienced with evolution and development for 200 more years. Its brilliant history and achievement can be comparable with Western arts. But after Ming and Qing dynasties, the development started to decay. In the early years of republic government, with the advocating and reforming effort made by Cai, Yuanpei, Xu, Beihong and Liu Haisu for a century, there has been remarkable achievement reached. After the KMT government moving to Taiwan in 1949, there have been numerous excellent artists from Mainland China infusing art thinking from the mid-earth areas. For decades, they have achieved abundantly much to create local Chinese traditional ink paintings in Taiwan. This is exactly the primary goal for local artists’ effort in traditional ink paintings. The author proposes a research titled “Rock and sea performance-take Taiwan sea area scenic spot creation of research as topic” and it is meant to explore the new art styles of traditional ink paintings in Taiwan.
This research is adopted with some methods like applied history of research methods, review of scientific lectures, filed research and on-site research to gather data. Also, with the definition of art and the comparison between the beauty of nature and art separately, the development of landscape paintings and exploration on painting contexts are cohered as creative ideas to implement the research of theory and creativity. This article is divided into 5 chapters and 13 sections. Among them, except Chapter 1 - Introductory and Chapter 4, there are summaries arranged at the initial parts of for every chapter to summarize the research focus in the chapter. There are also some sub-conclusions placed at the chapter end separately available for mutually citing and concluding at Chapter 3 – Constructing Creativity Theories and Chapter 4 – Analysis of Artworks.
Chapter 1 is titled “No Intention” to step into the domain of traditional ink paintings and emphasis effort is spent on relevant issues by posing the curious and funny attitude. The research theme is focused on reef waters surrounding Taiwan. Also, it is also exemplified with the contexts and skills of landscape sketching to gather data from some relevant theories and histories as the reference for sketching ways. Chapter 2 is the review of scientific lectures. This chapter starts from 2 themes divided into 4 sections. The research aims to explore the ways how to construct creativity ideas and implement practical creativity.
Chapter 3 deals with the ideals and implementation of creativity divided into 4 sections. Section 1 deals with the correlation between humans and nature by discussing the sketching of ink paintings, along with the ways how to model after the nature and extensively create new art styles. Section 2 deals with the influence on art creativity exerted by national culture. The culture is centered with the aesthetic standards for art creativity of ink paintings, namely the “benevolence” of Confucianism and "naturalistic inaction" of Taoism. Section 3 deals with the features of era and creativity to explore the ways how to construct new concepts in terms of both traditional and modern thinks. Also, by using subjects and skills, new local art styles of ink paintings in Taiwan can be achieved.
Chapter 4 deals with the analysis for artworks. Section 1 describes the brief situation of creativity at research stages. Furthermore, oceanic geological features of some areas like the eastern, northeastern, northwestern parts of Taiwan, along with some waters nearby Jialersui, Maobitou and Penghu, are explored. Section 2 deals with the analysis for artworks. From totally 20 pieces of artworks listed in this research, there are 7 samples selected with each artwork explained separately in terms of creativity ideals, theory foundation, art contexts, material and skills, and overall performance.
Chapter 5 deals with the conclusion and reflection. Local ink paintings in Taiwan must concentrate creativity effort on both traditions and culture features, along with new skills and aesthetic standards. The openness and the special features of geology, landforms and geomorphy are highly emphasized to construct new unique facades of Taiwan. However, currently, traditional skills and calligraphy arts show their deficiency with literature contexts urgently required for enhancement. As for the ways how to reach ultimate perfection, it is still required for much more enthusiastic effort. To sum up aforesaid elements, the creativity ideals of author are concretely established. Practical creativity is also attempted to analyze reef waters surrounding Taiwan. Also, based on the 3 major spiritual elements proposed by Yan, Quenyang (Spiritual Analysis Theory about the Thinking of Zhuangzi), namely magnificence, elegance and simplicity are served as appraisal principles for artwork analysis.
| Identifer | oai:union.ndltd.org:TW/097CJU05616012 |
| Date | January 2009 |
| Creators | Ya–Li Cheng, 鄭雅勵 |
| Contributors | 蔡茂松 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 120 |
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