The Appraisal of Neihu Mountains and Rocks from the Viewpoint of the Chinese Traditional Paintings

• Main Authors: Huang,Bi-show, 黃碧秀
• Other Authors: 孫家勤
• Format: Others
• Language: zh-TW
• Published: 2006
• Online Access: http://ndltd.ncl.edu.tw/handle/22713847656314190781

碩士 === 中國文化大學 === 藝術研究所美術組碩士在職專班 === 94 === The writer has studied diligently the painting theories in history and searched for the connection of artistic phenomena between the scenes of Neihu and Chinese landscape painting. In insisting the idea that the aged and modern paintings are to blend with and acceptable to each other, the originality of ancient artists is further studied to enable the objective understanding of the scene showing from outside and the developing subjective feelings in order to blend with the sights based on artistic creativity. While Neihu landscape is the existing scene for the citizens, Chinese landscape painting is beyond the scenic setting, or rather the creation of both pursuing the idea and feelings of artists. After having obtaining the scenery scope, we have to further understand their reasons, shapes and feelings about the substantial phenomena. The common shapes and reasons we generally talk about are spring, summer, fall, winter, and dim, sunny, rainy, cloudy and foggy weather which we should involve in and understand thoroughly, particularly in a sense of the aged Chinese painting discipline. Through the study of the aged painting theories, the writer comes to realize from the modern artistic originality that it is essential for an artist to express tactfully the true meaning of Chinese painting by their tools, such as Tun, Yuan who adapted linen thread pattern in his paintings. It is because there are lots of rocks with luxuriant and green bush and trees in the mountains of southern side of Yangtze River. This type of scene therefore applies to the mentioned painting pattern. On the contrary, Golden-face mountain’s rocks are somewhat like heaps-of-stone pattern which is characterizing by Hwang, Kun-wuan and Wang, Yuan-chi’s paintings and confirms the reasons why the aged and modern paintings are closely related and acceptable to each other. In the process of studying Golden-face Mountain located in Neihu, The writer looked at its scene from a far distant point, walked into the bush and trees by herself and trod along the path around the cliffs of huge rocks, riskily with every step moved. In the Tai-hu Park, the peacefully serene settings with winding paths, the nine-crooked bridge and the pavilions above the lake where citizens dancing and singing are beautifully attractive. In the naive and freeing Pi-hu Park, the crooked bridge and pavilions seem to be the home of fishing men and Egret birds where they used to meet everyday. Landscape painting could particularly show out this lovely scene in foggy and misty weather which changes swiftly in the morning and evening. Of course, it would be a pleasant enjoyment to have a sunny and brilliant day. Being aware of that painting should keep pace with the trend and fad and that the idea of landscape painting hinges on artistic feelings and could transform into painting elements and characteristics, i.e., mountains, rocks, bush, trees, houses and characters are the elements that make up of a scenery; and by this idea, an artist could tactfully draw a picture as beautifully as the frame of mind cited in a poem and reach eventually beauty.