To Reflect the Chaos in Traditional Chinese Painting—the Transformation of Fractal Pattern

• Main Authors: CHU.CHING-PAI, 朱晴白
• Other Authors: Huang Hai-Ming
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/14319260900942392841

碩士 === 國立臺北教育大學 === 藝術學系碩士班 === 95 === Abstract According to the natural sciences research lately, the fractal pattern can explain the origins of the nature complex states clearly, the fractal geometry in the metropolis growth simulation, the understanding about how traffic jam happened and discover the regularity of the noise, the technology of the compression chart files, in the different domain such as music and painting art creation and so on, many applications may be based on the fractal geometry. There are similar fractal patterns structures in many ancient under my observation. These ancient patterns appear frequently in the different space and time history files, and the works. Therefore I boldly adopted the ancient Eastern patterns and transformed fractal patterns in fractal geometry concepts and self-similarity and so on and then I attempted a succession of fusion of natural sciences theory and the social humanities reflect in traditional Chinese paintings, expecting to stimulate the interesting artistic spark. The modern artistic stream is just the same as Internet transmitting news. Different kinds of artistic forms penetrate one another rapidly because of the energy accumulation overflowing everywhere. For example, languages and writing are seeping. Each kind of designs and images are seeping and even the pictures and the articles are seeping to each other. The speed of each kind of artistic sensation form’s variation is as fast as the iceberg melting. By the energy of its seepage the definition and boundary were getting more and more fuzzy; by the seepage strength, the time and the spatial distance of each kind of artistic forms were pulled closer and reduced , when the sense of distance vanished, the past will be currently turned immediately into a kind of original creation, a kind of memory or the symbol, the ideological trend of artistic creation energy will be put on flows in the ancient and modern space and time, the artistic forms turn in each kind of seepage in the nature of circulating. If so, then it will not be the point to choose any kind of manifestation, the forms of each other’s energy seepage caused the discussing form itself to be embarrassing. The visual form development responded some kind of energy seepage of the space and times. Through several kinds of the concepts of the space and times theory system, I transformed the aesthetic patterns into an abstract painting and even choreographed it and attempted to discuss the self-similarity visual effect about unlimited extent and the contraction in fractal geometry patterns. I also tried to translate the original work and the duplication, dislocated the minimum space and the visual maximization. In the meantime, I study the energy of seepage between viewer and visual space, the seepage of the intermediary, visual fairyland space and something about visual reactions. The chaos theory is the modern science. It emphasized sensitive dependence of the initial condition. They advocate the representation in disorder is often just the fake ones. The deeper level rule is hidden in the chaos. I believe some response from mind exists in the visual art. If we can put the frequency of response in accord, naturally there will be a great chorus in our mind. Key word： fractal pattern traditional Chinese painting installs the energy the seepage chaos space and time theory