| Summary: | 碩士 === 國立臺灣藝術大學 === 書畫系造形藝術碩士班 === 103 === Abstract
The title of the thesis: “When the Black or White”, Virtual Real or Real Virtual – Abstract Painting by Mixing Calligraphy, Chinese Ink and Ceramics Materials by the author Yi-ting Lai is a discourse on personal experimental creation in 2012-2015.
With the personal perspectives of viewing nature’ vast skies, lamenting the impermanence of life, and realizing the pain of being separated in life and by death, the author employed the queries and remarks cited by oriental philosophy, the Lao-Zhuang (Laozi and Zhuangzi) school of thought, Zen (Buddhist) theory, along with Western aesthetic theory and ideas that combined nature and mind as the source of creation.
The author pictured the possibility of modern abstract painting by mixing calligraphy, Chinese ink, and ceramic materials experimentally with specific skills in association with the preceding theory.
First, the experimental means applied to mixing the materials. The means of spray, monotype, dripping and hand drawing applied to calligraphy and Chinese ink. The means of rollover and slab and coil molding applied to ceramics. The composition and modeling followed the abstract aesthetics of space stressed by Virtual and Real in When the Black or White in addition to the mixing axle of organic linear rhythm and series connections. The visual experience of the Zen image was expected to trigger resonance in the audience and move them with the static visual stimuli.
Chapter 1: Introduction: Motive, aim, framework and methodology are laid out.
Chapter 2: Theory (Literature review): Oriental philosophy, namely Lao-Zhuang ideology and Buddhist theory serve as the basis. The main axle of the personal creation is covered by the virtual real dialectical aesthetics as stated in Yin-yang Theory, the Book of Changes (Yi), Being and Nothingness in Laozi’s Book of Ethics (Morality), dualist transcendence in Emptiness and Being of Zen and Buddhism, and virtual real discourse by When the Black or White of Deng Shi-ru as the oriental fundamental theory, and Wassily Kandinsky’s point and line to plane theory and Henry Spencer Moore’s virtual real sculpture as the fundamental Western theory.
Chapter 3: Virtual Real and Theory of Space in Abstract Art: The virtual real and abstract ideas apply to illustration and interpretation. Theory of space applies to abstract art in the East and West and to investigation of abstract presentation of artists in the East and West.
Chapter 4: Ideology of Creation: black and white in calligraphy refer to Yin and Yang, i.e. Virtual and Real. The three media of calligraphy, Chinese ink, and ceramics apply to the creation in an abstract form of virtual real and real virtual When the Black or White. Finally, the artwork was presented by mixing the three.
Chapter 5: Procedures of Creation: A detailed elaboration applies to presenting the material employed and research on procedures and skills concerned, form of creation and way to present the theme and composition, and process of creation.
Chapter 6: Illustration of Artwork: Calligraphy refers to a point and 1D line and 2D planar abstract form. Chinese ink refers to a 2D planar abstract form. Ceramics refers to a 3D abstract form. The significance of artworks, form of content, and skill of expression are queried by mixing the three in creation.
Chapter 7: Concluding Remarks: The remarks on 5 dimensions are concluded as follows: 1: The characteristics and artistic value of the artworks created by mixing calligraphy, Chinese ink and ceramics; 2: What is acquired and perceived during creation; 3: Objectives achieved or not throughout the process; 4: Flaws and difficulties in the process; and 5: Future development and reflections, and plan for creation.
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