| Summary: | 碩士 === 國立臺北教育大學 === 藝術學系碩士班 === 95 === “Earth in living, ash after death”—it was a dissertator of my creation in 2004 to 2007. The dissertator can be divided into three aspects as following: perspective of creation, material of using, exploration of molding.
My perspective of creation came from natural circulations of life and death and opposite theory. According this viewpoint, I used slurry glaze and plant ash glaze of the nature world as the core center of my creative work to discover the natural circulation and relationship between life and death. I connected my emotional attachment to Taiwan and discovered the viewpoint of multiple circulations between humanity and myself, humanity and land, as well as land and life. And the concepts of dualistic contrariety could be seen in everything of the whole world, for example: life is opposite to death, sky is opposite to land, concave is opposite to convex and so on. Visually, the ｢style｣ attempts to express the lineal purity and the tension of concavity and convexity. I also hoped to restore the basic relationship between concavity and convexity, and base on traditional vessels, blending with aesthetic styling perceptions. Finally, perspective of creation, material of using and exploration of molding were combined to be the axis of my creation.
My dissertation is discussed in five chapters. The introduction and chapter one explain the origin, background, motion and purpose of my creation.
In chapter two, I focus on my ideas of creation. It includes the viewpoints of life and death, the circulations of earth and ash, the basic shape of concavity and convexity, the fire movement of hardness and softness, and the explanation of “earth infers life, ash infers death.”
In chapter three, I discuss about the slurry glaze and plant ash glaze, the collection and handling of materials, the design and construction of kiln, and the experiment and producing of glaze.
In chapter four, the discussion of technique and analysis of works are eating and rest, dualistic contrariety, dualistic concordance, and ash of ground.
In the finial chapter, I express the conclusions of my dissertator in three sections: the interaction and insist of “pottery and art”, the unique creation of “glazes and expression”, and earth regression of “attachment and local land”.
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