The Study Within Oneself ： In the creation of ink painting by Lee Ying-Huang

• Main Authors: Lee, Ying-Huang, 李英皇
• Other Authors: Cheng, Tai-Le
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/35572372077260819584

碩士 === 國立臺灣師範大學 === 美術學系 === 101 === This thesis aims to explore and compare the cultural image of “Studio Landscape” constructed during the Song and Yung dynasties and “Studio Painting” of Zen Buddhism of the Muromachi Period of Japan, which was influenced by the culture of the Song and Yung dynasties. Both of their painters took “studio” as a major theme to depict their own inner landscape; however, through examination of the paintings’ forewords and inscriptions, the researcher found that there are some nuances of cultural difference between them. Before clarifying such difference due to cultural transmission, the researcher claims that “studio” as a thematic focus in landscape paintings shows that the philosophy of “Teachings of the Order” and its interpretation of one’s natural temperament directed the art theory of the Song and Yun dynasties, making literati painting a poetic expression of its painter’s reclusive inner world, rather than a description of the visible world. Studio painting of the Muromachi Period inherited the pattern and literature of those of the Song and Yun dynasties, and also burgeoned and flowered in a reclusive milieu. But interestingly, during the process of cultural transmission, the cultural image and meaning of “studio” in the paintings of the Song and Yuan dynasties underwent some transformation in Japan. The spirit of Zen Buddhism was incorporated into the creation of Japan’s studio painting, which was quite distinctive from that of literati recluse emphasized and embodied in China’s. In other words, the Japanese studio painters no longer sought to differentiate the secular and the idealistic; rather, they cultivated a detached mind to view things in essence, and projected their visions onto art works. The images of “studio” might appear to be unadorned, shabby or mysterious, because it embodied a freer state of mind. This is the main point of the thesis and art work. As stated above, “studio” and its visual representations reveal a kind of spiritual aesthetics; that is, in his choice of subject matter and medium, the artist conveys the vision of his own inner landscape. By investigating through a new light the bonsais inside and outside the studio and the essence of nature, the artist portrays his observations through monochrome ink painting, in which calligraphic brushwork displays an eastern style of painting characterized by rusticity, simplicity and melancholy. The choice of medium and subject matter demonstrates the artist’s reflection on the transience of daily life. Also, his understanding and interpretation of the physical world has an impact on his way of picture mounts. When customizing picture frames, the artist puts aside the knowledge and skills of a connoisseur and gives more emphasis on the intuition and sensations of a single-minded observer. This is not just a clarification and reflection on his use of media and creative style, but also an effort to understand Chinese and Japanese aesthetics and to find out new language of imagery and artistic sensibility.