The religious images of the interaction and transformation between the Circle and India

• Main Authors: Lin-June Yah, 葉玲君
• Other Authors: Pao Tsung Cheng
• Format: Others
• Language: zh-TW
• Published: 2003
• Online Access: http://ndltd.ncl.edu.tw/handle/06146059193525367037

碩士 === 國立嘉義大學 === 視覺藝術研究所 === 91 === Abstract The religious images of the interaction and transformation between the Circle and India. The motivation for my artistic work is derived directly from the life that is surrounding me: the things I see, hear, and feel. What the painter does is to choose a subject matter from the vast pool of life, and represent it in its uniqueness of shape and color─necessarily not without giving expression also to the current trends in artistic creation. Yet at the core is the reflection of the artist’s own creative impulse. Artistic form is an articulation of the painter’s aesthetic perceptions and the symbolic meanings he or she imbues them with. Still, art, and any specific topic one may choose, is more than an assertion of the artist’s thoughts,emotions and images, seen through the filter of his or her perception：the subject matter itself carries diverse and multifaceted messages, leaving it open to many individual interpretations by different observers with different backgrounds in time and space. The theme of my work, “The Blend of the Circle and India,” is closely connected to the religious images of the interaction and transformation between the Circle and India. “The Blend” is represented as a round shape that combines traditional signs and symbols with a postmodern situational approach in an effort to reveal the power of transformation and sublimation innate in all art. In terms of subject matter, form and material, I thus wanted to develop my own original style. Seen as an integrated whole, idea and realization of my “The blend of the Circle and India” can be referred to on three distinct levels: theoretical basis, creative actualization, and interpretation of the finished work, as shortly described below: 1.(Chapter One): States the motive and object of analyzing my creative work, explains the method of investigation, and shortly illustrates the meaning of my creative concept, “Blend of the Circle and India.” 2.(Chapter Two): Explores the theoretical basis of my creative concept. For adequate actualization and meaningful interpretation of any piece of art, it is first necessary to examine how an artistic form takes shape, and how the creative process is affected by the artist’s intuition. It is also important to understand the specific quality of the designs used, and the symbolic categories of the overall artistic form. Only then will it become possible to appreciate the opposing and yet complementary elements of meaning, and to interpret and classify the artistic structure, until a creative pattern emerges where form, material and significance flow into a new, sublime whole. 3.(Chapter Three): Illustrates the actualization of my artistic concept, the “Blend of the Circle and India.” It is shown how the symbolic meaning of the round form and the traditional religion signs and patterns of India merge into the leitmotiv of my creative work, the “Blend of the Circle and India,” and how this leitmotiv takes form on three levels: a) formal transformation of the Indian icons; b) material sublimation of the round shapes; and c) the interaction and metamorphosis of the round shapes and Indian icons. 4.(Chapter Four): Conclusion. In the appendix, an interpretation of my creative works is given with a view to the specific form, material and significance of each single piece. Keywords: Indian religious images, circle, artistic production, interaction, transformation.