A study on the creation of landscape ink painting － image modeling of water

• Main Author: 李正豐
• Other Authors: 吳長鵬
• Format: Others
• Language: zh-TW
• Published: 2002
• Online Access: http://ndltd.ncl.edu.tw/handle/28327798535501765127

碩士 === 臺北市立師範學院 === 視覺藝術研究所 === 90 === Abstract Keywords：Ink painting, landscape, creation, water, image, modeling It has been 30 years since I taught in a primary school. With many years of experience especially in the education of children’s fine arts, I am now writing my thesis with a subject of “A study on the creation of landscape ink painting － image modeling of water”. Based on the close connection between education of fine arts and creation of painting, I enriched the composition with interaction of the education and the creation as well as the contemplation of the retrospection of my experience. I am used to preferring ink painting to any others and respecting the influence of water on our living. I seriously concerned those immoral manufacturers, who have periled our beautiful homeland with poisonous waste water, pollutants and illegal cultivation and construction. I felt heart broken when I saw the loss of lives and property in droughts and floods as well as outbreak of mountain torrents mixed with sand and stone. It is my urgent desire to arouse people’s love and care for the land and attention to the protection of environment and water resources. I hope I can do something for the people on this land through the study of “image modeling of water”. Discussion of Chapter 2: First of all, I gave an analysis on the creation of ink painting and the feasibility of its development in Taiwan. This analysis made me fixing the direction of my study. Next focus of my study is placed on the philosophy and aesthetics of water, in which I can let people know more about the technique of painting water and have better knowledge of the water in classic paintings and the study on painting. This chapter provided important reference in deciding the content of creation. Focuses of Chapter 3 and 4: These two chapters are related to the implementation of creation. In the expounding, I incorporated in the technique of painting my belief in life, values, land and deep concerns of environment, culture and humanities, as well as the combination of western paintings and traditional Chinese paintings. As a Chinese, I placed a special stress on the importance of the technique of traditional Chinese painting --- operations of brush and wash. I also emphasized artistic style in creation and I believe this style is cultivated in years’ cumulated experiences in life and studies on painting theory. Chapter 5 Interpretation of water: In this chapter, I make an important association between the creation of painting and the states of water, both static and dynamic. Water in different bodies and different states opens a different artistic world to us. We see it in peacefully or sometimes torrentially flowing. It stays still reflecting the objects on its bank. It is gurgling in flowing. It is falling down from the cliff or springing up to the clear sky. It is surging in a deep ocean or dropping from the sky like strings of crystal beads. Chapter 6 Conclusion: It briefly described a path of my teaching and personal creation on painting, and implied a direction of consistent effort as well.