博士 / 國立臺南藝術大學 / 藝術創作理論研究所博士班 / 104 / In this study, the author (creator) regarded “drawing” the basic elements of drawing as a starting point for research, moreover as the basis of this paper series. Drawing for creators body and frame / mediums, it has the continuity body movements and the relations of impression. However, the western painting genealogy of drawing from tradition to contemporary, drawing reflected the change of body relation and attitude between in drawing and creator in different period, which, the meaning of drawing plane dimensions and the visual / physical thinking how to produce change? And then, the change could provide us the way to view the work that different from tradition.
The thesis contains six chapters. First, in Chapter One, according to classify, study the drawing in the history of painting, and proposed reflection and the meaning for argument that aimed at the definition of traditional two-dimensional plane to the propriety of contemporary art, as well as to review the meaning of Chinese character “drawing.” Chapter Two, the study paid more attention to discuss the creative category of how to use installation to express the planarity of painting, and depended on this kind of express to retract and analysis; and further, the author could concluded the character of the creative express that between installations and painting. In the Chapter Three, in accordance with the Chapter One’s basis of “drawing” aimed to describe the author’s creative processing of the series of contour outlines of body form, stressed the experiences from the body measurement in exhibition space, the contour outlines of body form and subjective perspective point of view, elaborated the body measurement of feminine creation subject, and emphasized the slight space of first person affinity and tactile. And then, the Chapter Four focused on discuss the creative method of continuity and dis-continuity that produced by the material and body in the creative processing, and especially in compared with the assistant of scientific rationality, machinery, media, that would caused the self-examination which between flesh body and material. Finally, the Chapter Five and Chapter Six insisted on change of the approach for the way of seeing among the painting border “frame / range.” Besides, the author probed into the aesthetics of seeing from “physical boundary,” “stretch of actions” to “priority ingredients of body existing on space.”
Finally, creator (researcher) combined these two identity in the creation and theory practice who investigated, understood and discriminated the express of creation in the contemporary that body between in the “drawing,” profile, picture and installation. The author revealed the observer’s “physical presence” by observer’s diachronic time of body measurement that especially in the discussion which referred to the context of time and space.
| Identifer | oai:union.ndltd.org:TW/104TNCA5702005 |
| Date | January 2016 |
| Creators | Cheng Hsiu-Ju, 鄭秀如 |
| Contributors | Ku Shih-Yung, Gong Jow-Jiun, 顧世勇, 龔卓軍 |
| Source Sets | National Digital Library of Theses and Dissertations in Taiwan |
| Language | zh-TW |
| Detected Language | English |
| Type | 學位論文 ; thesis |
| Format | 313 |
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