Chinoiserie as Pseudo Knowledge of Pseudo Chinese

• Main Authors: Chih-Ling Hsieh, 謝芝玲
• Other Authors: 林達隆
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/49v6v2

博士 === 國立臺灣師範大學 === 美術學系 === 101 === This research explores the artists working method on the basis of pseudo-knowledge. Many artworks were created by artists who don’t have solid knowledge basis. Sometimes, it’s due to objective reasons, some environmental conditions might make the artists in lack of certain knowledge. Others were due to subjective reasons, the artists might make some choices subjectively which might make the knowledge structure distorted. In some cases, it might happen simultaneously. The act of creating artworks is about artists themselves choosing certain part of their experiences or knowledge subjectively, and then they reorganize a new knowledge structure from it. Therefore, by clarify the problems that the artists encounter during this knowledge reconstruction period and explore the knowledge evolution and reconstruction process could help the artists to build up the foundation of the creative thinking. First of all, this article took Chinoiserie, delftware, and pseudo Chinese as entry points, which were made by the 17th century artists who were in lack of eastern information, to investigate the representation deformation phenomena occurred while the artists transform new information into new knowledge according to their cognition perspective of their original knowledge. Secondly, investigate the connection between pseudo-knowledge and artwork creation from cultural representation, visual perception psychology, and schema’s aspect. Finally, explore “Pseudo Existence” by creating art works. The result of this research shows that imagination still comes from the things that are already known. When people are reconstructing different knowledge structure, they still need to build up further inference through the overlap area of the both ends. Creators and viewers also need to hold some consensus to communicate with each other smoothly. Therefore, although artists’ subjective consciousness decides artworks final status while viewers were reconstructing different knowledge structure. In order to build up the “knowledge” of “pseudo-knowledge”, artists still have to consider how knowledge evolution works.