Being as Pure and Solid as Jade；Being Widespread in High Mountains-The Chinese Ink Paintings of Jade Mountain and Juniperus squamata

• Main Authors: LIU, RU-JEN, 劉如珍
• Other Authors: 涂璨琳
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/p34n8b

碩士 === 國立臺灣藝術大學 === 書畫藝術學系 === 103 === Yushan (Jade Mounatin), the highest mountain in Taiwan, is a symbol of the shengshan (sacred mountain). Early in the Qing Dynasty, Yushan (Jade Mounatin) was praised by poets. In the Japanese Occupied Period, Yushan (Jade Mounatin) was explored by mountaineers and depicted by artists. Since the Five Dynasties, landscape has been considered one of the important painting subjects; different appearances of trees are also the important motifs in landscape painting. Depictions of mountains in Taiwan during the Japanese Occupied Period were used for political propaganda. Many Japanese artists at that time chose mountains in Taiwan as the subjects in painting. Since then, there has been a growing trend among Taiwanese artists to sketch mountains in Taiwan. This study focuses on the highest mountain in Taiwan, Yushan (Jade Mounatin) and the most typical tree in the mountain, Juniperus squamata. The thesis is divided into five chapters: Chapter 1. Introduction: The author’s motive for artistic creation and research; research goals, contents, methods and steps. Chapter 2. Literature review: This chapter is divided into three parts. The first part is the origin and history background of Yushan (Jade Mounatin) as the shengshan (sacred mountain). The second part is the history of climbing expedition during Japanese Occupied Period. The last part is the illustration of the scene of widespread Juniperus squamata in Yushan (Jade Mounatin). Chapter 3. “To Paint” Yushan (Jade Mounatin): The main chapter of this paper is divided into three parts. The first part is Yushan (Jade Mounatin) under the paintbrush. Three artists in Taiwan Kinichiro Ishikawa, Ran in-ting and Ma Bai Shuei were chosen as examples. The method is to compare and interpret their background, artistic style and ideas. The second part is landscape into art. The idea of “guan wu qu xiang” (taking the abstraction of form from the observation) was used to illustrate the oriental realistic style in painting. There are also discussions on the spread of Western influences to the East and the use of color. The final part is the shape features of cypress and bush. The content is the comparison of different depictions of cypress and trees, comparison of cypress and trees in paintings by ancient and modern masters. Chapter 4. Work analysis: This chapter is divided into two parts: the Yushan (Jade Mounatin) series — “Being as Pure and Solid as Jade” and the Juniperus squamata series —“Being Widespread in High Mountains”. This chapter is the analysis of the composition and ideas on colors used in the two series. Chapter 5. Conclusion: The first part is my reflections of research; the second part is the outlook and further issues. Yushan (Jade Mounatin) is a witness of the development of art, culture and history in Taiwan. To make this thesis, I started from searching and reading the related literature, and then making my artworks, finally writing this thesis. When more efforts were paid, more of my emotions and thoughts were integrated into the study. I encouraged myself to keeping on learning art and trying hard to make my own style of painting.