| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系 === 95 === Abstracts
The traditional decoration pattern has its historically emblematic meanings in the development of art. Every ethnic around the world has his unique traditional ethnic decoration patterns. The painting of people, landscape, and flower-and-bird have been regarded as the orthodoxy in traditional Chinese painting style. As a matter of fact, the development of painting art is much later than that of decoration art. In addition, the decoration art is the origin of Chinese painting art. And the decoratively aesthetic elements would be the main theme of artistic creation again.
Shan-Chou Dynasty is the Bronze Age in Chinese history. A lot of bronze ware and decoration art are inerasable impression in the development of art. It is true that traditional decoration pattern is the origin of Chinese painting art. And the decoration art acceded to thousands of Chinese culture holdings that evolved into later Chinese colorful decoration themes. This kind of artistic heritage has highly significant meanings to either the world or Chinese decoration art.
Shan-Chou Dynasty is the key time from legendary time to pursuivant time. While Shan and Chou Dynasties are two different entities,and they have considerably connection between cultural backgrounds and historical environment. People can get a picture from the changes of bronze ware and its decoration arts especially under the political ideas and feudalism. The bronze ware and its decoration arts play an important role in cultural development of Shan-Chou Dynasty. The bronze ware is not only delicate in shape but its colorful decoration is also the existence of people’s thoughts and aestheticism. In addition, the delicacy style of the bronze ware has a unique trait in either the content or the formation.
Through the analysis of decoration patterns of Shan-Chou Dynasty, we can not only find out the thoughts elements and aesthetic principles of Shan-Chou Dynasty but also can intrigue polybasic energy of traditional ink painting. As a result, we can realize where the appeal of original art is from and that can offer the power different from that of before for the modernization of Chinese painting art. In addition, the secret power of the Bronze ware and the decoration art reflect not only simple but also strong feeling penetration that would develop another math of modern painting. As a result, In self-creation of art, the researcher tried hard to do the combination of experiment and imagination.
The dissertation is divided into five chapters. And the dissertation is aimed at exploring the multiple performance in Chinese painting. We may explore and study the origin of the decoration patterns of Bronze Age so that we can realize the spirit and the aestheticism of decoration art of the Bronze Age. Furthermore, the researcher tried to promote the content of Chinese painting and would like to re-investigate the thoughts of self-creation so that the researcher can review the result and hope to make a difference between self-creation and traditionally modern power. And finally the researcher would like to create an oriental painting style in painting performance.
|
|---|
