The Study on the Interpretation of the“Qiyun Shengdong”with the Theory of Visual Perception

• Main Authors: Hsiao, Chung-Jen, 蕭崇仁
• Other Authors: 黃光男
• Format: Others
• Language: zh-TW
• Published: 2003
• Online Access: http://ndltd.ncl.edu.tw/handle/02235006380459129312

碩士 === 臺北市立師範學院 === 視覺藝術研究所 === 91 === Xie He the famous portraitist of Southern Qi proposed the ‘Six Guidelines’ of painting in his “Gu Hwa Pin Lu”. Guo, Ruo-Xu addressed in his “Tu Hua Jian Wen Zih”, ‘the principle of Six Guidelines shall last eternally’ and uplifted the standing of Six Guidelines significantly in Chinese painting theories. Six Guidelines later evolved into the byword for Chinese painting or the general name for Chinese painting theories and techniques. Of the Six Guidelines, ‘qi yun sheng dong’ is ranked number one. Nevertheless, the meaning of the subject has remained disagreed controversial in the history of Chinese painting. In this respect, this research intended to study the development of ‘qi yun sheng dong’, and expound the subject with visual perception theories. This research was comprised of six chapters. Chapter 1 explained the research motive, objective, importance, scope, and limits. Chapter 2 reviewed the prior researches on ‘qi yun sheng dong’ and proposed opinions of the research for the reference to the research. Chapter 3 discussed the theories of visual perception, and compiled the related research results and discussion on visual perception. Chapter 4 probed the motion phenomenon and structures of dynamic exhibited in paintings and gave the examples of Chinese ink painting. Chapter 5 discussed the meaning of ‘qi yun sheng dong’ from multiple aspects based on the above-mentioned researches. Chapter 6 concluded the research study. The research concluded that vision seized the nature of objects by the structures of dynamics, and the creator’s ‘perception’ was interaction of dynamics of one’s affections and the objects until the homogeneity was obtained. ‘gu fa yong bi’ (lines), ‘ying wu xiang xing’ (shapes), ‘sui lei fu cai’ (color disposition), ‘jing ying wei zhi’ (shape disposition) could bring the ‘perception’ with visual and shaped display. In other words, the above four methods implied the features of dynamics; hence, the appreciation of ‘qi yun sheng dong’ was carried out in vision of the four methods to realize the motive force of the painting. Nevertheless, one’s unique emotions or experience could influence his/her appreciation of ‘qi yun sheng dong’, and ‘reinterpret’ the ‘perception’ of the creator by mixing one’s own emotion or life dynamics. ‘qi yun sheng dong’ is the control over the direct perception on motive force of an object and the unique and complete display of dynamic structure in the painting. The painting then obtains its ‘vitality’.