| Summary: | 碩士 === 國立臺灣藝術大學 === 版畫藝術研究所 === 98 === This paper is about ‘Dream Journey：Imaginary Tour through the Mind-Landscape’. The author analyses the creation process and the result after studying in the Graduate School of Printmaking, aiming to probe into individual creative spirit and how pictures deliver meanings. Through this MFA-Thesis, the author attempts to clarify questions regarding creation and further construct a blueprint for creation.
‘Bizarre-Landscape Notes’ was written by using life as a starting point and imagining the ideal world to create personal and unique experience. It absorbs visual elements of Literati Painting - Mountain and Waters (Shanshui) and Water Pressure Woodcut and looks into how they are changed and revitalized. It then further investigates the origin of the picture and uses spiritual analysis to trace back the memory of childhood, while by using surrealism to explain the meaning of the construction and providing examples to reflect each other in order to explain why Water Pressure Woodcut was chosen and its reasoning.
From the idea, planning, implantation and proof of the creation, this paper can be divided into four chapters. The first one is introduction, and it talks about the motive and intention. The second one is the concept of creation, which is supported and explained by theories. The second part can be further divided into three sections; the first section writes about where the idea came from and analyses the origin of the elements of the picture. The second section describes what happens in the story and the joy gained by being away from the reality. It then analyses how the painting was done, demonstrating how to transform from shapeless ‘mind’ to physical ‘form’. The last section, using the history of the development of Water Pressure Woodcut as a foundation, talks about how the creation process can be emulated.
Chapter three gradually implement the concepts in chapter two and talks about the entire plan of this creation and how it will be presented. This chapter is divided into four sections, categorized by different creation subjects. The first section describes the entire concept of the creation and tells why it is named as Canglezhai Qixiang. The second and third section explains the creation process and analyses its content and concept. The forth section discusses the origin of the technique of using woodcut to present Water Pressure Woodcut and the use of materials as well as how they are used, especially how to use the natural flow of Plywood and dynamic ink structure to deliver personal style.
Lastly, chapter four is conclusion, which notes down the result of the implantation, by which to claim the concept of ‘External and Internal Boundary’.
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