The Investigation of Cubisme Alternatif

• Main Authors: Su-Ping Li, 黎素屏
• Other Authors: Kuen-Cherng Sheu
• Format: Others
• Language: zh-TW
• Published: 2002
• Online Access: http://ndltd.ncl.edu.tw/handle/55910178318509381230

碩士 === 中國文化大學 === 藝術研究所美術組碩士在職專班 === 90 === The Investigation of Cubisme Alternatif Abstract Cubisme Alternatif is the newly developed school in Taiwan. It fuses the methods of depicting space in both Chinese and Western paintings; and merge the pursuit of cosmos emotion touch from Chinese painting onto canvas. The esthetics of both spheres is embodied. The Investigation of Cubisme Alternatif is tracing backwards to explore the relationship between Cubisme Alternatif and modern arts. Fine Arts in Taiwan did not develop systematically until the Japanese reign of Taiwan. Within the 100 years from 1895, Taiwan fine arts performed various aspects. What were the factors to drive Taiwan fine arts to embrace such development and changes within such short time?! With the creative concepts depicted by Cubisme Alternatif, such as “The Nature Wonders”, “Emotional Touch” and “Espace Intermediaire“, the ambiguous and not clearly defined “Espace Intermediaire“ is amongst all the creative essence of the entire school. Moreover, it is the emotional space generated by the fusion between creative artist and the nature wonders. What is the artistic impact from the Father of Modern Arts, Cezanne to Cubisme Alterntif? What is the major variance between the three: Cubism, which was formed with influence from Cezanne’s artistic viewpoint, the Futurism developed afterwards, plus the Cubisme Alternatif. The “many-faceted simultaneously” of Cubism, “Various time-frame of single standpoint“ of Futurism, and the “various-faceted randomly” of Cubisme Alternatif. It is also because of no strongly enforced regulations, after “mobile viewpoint “ observation, the creator assembles the objects in various space and under various angles freely. Unlike the analytic universal perspectives of the Westerns, Chinese painting depicts the “cosmos emotional touch”. The latter has also become the aspect what Cubisme Alternatif is trying to present on canvas — Expressing the boundless time and space of Chinese Painting through “black strokes”. In one of the important documentations of Cubisme Alternatif “Mouvement Intermediaire”, it highlights the uplift of LaoChuang Thoughts to “emotional touch”, “the outer appearance is sourced from the heart”; which tries to comment other paintings by using Chinese Paintings’ evaluation standards. “Forest Spring in Depth” is one of the most important documentations in Chinese history of paintings. The aesthetics of space and time presentation it depicted were amazingly similar to Cubisme Alternatif. Take “ Sights will be different by circling the mountains, moving along the steps, and mountains can be gazed from every side” from the book as example, it is similar to the “mobile viewpoints” and “various-faceted randomly” of Cubisme Alternatif. This represents the “true essence of arts” pursued by great artists are the same. The founders of Cubisme Alternatif — Professor Kuen-Cherng Sheu and Dr. Meei-Er Ueng created the “Mouvement Intermediaire” theory after thorough studies on paintings, which then were solidly presented. The author will pay special analysis and elaboration of their style features and changes of paintings under this theory. The constant argumentations of the modern arts, which led by conceptual arts, are the presentation one kind of artistic performance? On the other side, the constant implications of Chinese paintings’ cosmos emotional touch into traditional oil paintings represent the eternity of what artistic perspectives are pursuing? It has been clearly depicted in the paintings of Cubisme Alternatif.