| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系在職進修碩士班 === 100 === This present paper takes the modern painter Huang Qiu Yuan’s paintings as the object of the study. It carries out discussions on the manifestation and painting connotations conveyed in his works. Simultaneously, through the research on the painter’s biography and history background, it further explores the value of the traditional learning method in Chinese brush paintings.
In addition to the introduction and the conclusion , this thesis is divided into five chapters. In the introduction, it focuses on the value and the position of the traditional paintings, thus, to illustrate the motivation and the goals of the study. The first chapter describes the painter’s biography, history background, manifestation of works, and his times significance. The second chapter interprets the painter’s artistic thoughts. He inherited previous great Chinese artists, and furthermore blended with his own creation style, passing down what he had learned to the later generations through teaching. The third chapter analyzes the manifestaion of his painting works with three different dimensions: their composion, the ink painting of the dot and line, and the figures , trying to generalize the characteristics of his manifestation. The fourth chapter discusses the styles and the artistic conception, which are studied according to his painting works of early, mid, and late stage. Therefore, we can understand the connotation of his works better. The fifth chapter analyzes Huang’s serial works related to Mt. Lushan. It studies the artistic works about Mt. Lushan by ancient writers and painters, analyzing and concluding the changing relationships and characteristics among them in the two aspects of literature and painting.
The conclusion includes three parts. The first part is about Huang’s biography. By analyzing his education and experience, era background, artistic content of expression, and the “ Qiu Yuan Fever “, it explains the relationship between the times and Huang Qiu Yuan. The second part is , on the basis of Huang’s artisic thoughts , to illustrate his painting features: the techniques learned from previous painters and tne expression way of his own style. The third part, by analyzing Huang’s painting creations, concludes the characteristics and the connotation of his works. Finally, with the comprehensive understanding of Huang, the researcher reflects our comtemporary culture and its value. By taking Huang Qiu Yuan as a good example, let us think about both the meaning of creation in painting and the new development of Chinese landscape painting.
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