| Summary: | 碩士 === 國立臺北教育大學 === 藝術與造形設計學系碩士班 === 98 === Tamsui is a township with distinctive natural scenery because of its landform. The beauty of Tamsui was ranked as one of the Taiwan Eight Views. It was also a crucial military and commercial base due to its geological location, and many historical and human remains were kept all over Tamsui. Moreover, the hospitality of Tamsui inhabitants makes this township not only the artists’ favorite topic for their works but also the tourist attraction. This thesis investigated existing works of Chinese Brush Paintings which selected the natural scenery, historical remains, or figures in history of Tamsui as their topics. In addition, the author’s thoughts and methods as to the constructs of Chinese brush painting, technique of drawing, rhythm of ink, and the integration of Chinese and western art were explained to express her care of people.
There are six chapters in this thesis. Chapter one, Introduction, describes briefly the motivation, purpose, scope, methodology, and procedure of the research.
Chapter two, Literature review, explores the theoretical backgrounds, emotional origin and presentation of art works. Tamsui paintings in the early days are collected and sorted as evidences of theories and personal reference.
Chapter three explains the rationale of the series of work, “Feeling of Affinity to Chinese Brush Painting, and Affection for Tamsui”. It is intended to express author’s concern toward humanity and nature and her pursuit of integration of modern and traditional practices through the dialogue between technique of drawing and rhythm of ink.
Chapter four clarifies the implementation of author’s art work. The touching moments of life are the resources of her work. Both Chinese and western presentation methods are utilized in composition. Various material and media are used. Multiple approaches of expression technique are also attempted.
Chapter five analyzes and discusses the work even further to make the author’s intention and spirits clearer and more understood by the readers.
Chapter six, Conclusion, includes the author’s reflection and self-criticism about her own work research, provides plans and prospective routes for her future development of art works, and hopefully serves as reference for other researchers of art works.
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