A Study of the application of seal characters in paintings

• Main Authors: MINEKO SHIMIZU, 清水峰子
• Other Authors: LI, ZHEN-MING
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/52175605860104750543

博士 === 國立臺灣師範大學 === 美術學系 === 104 === This study aims to discuss the application of seal characters in paintings. Literature study is performed to examine and summarize various ideas as a reference for practical creation. Furthermore, personal creative thinking and practice are proceeded with by the themes, “the application of the Small Seal Script in painting,” and “the application of seal characters in painting.” The thesis consists of eight sections. The Introduction explains the motive, purposes, content, method and scope of the study, as well as the glossary and literature study. In Section Two, the works of Meng-fu Zhao, Zhi-qian Zhao and Chang-shuo Wu are referenced as examples for in-depth deliberation on the integration of calligraphic styles into paintings as a means of creation. For Section Three, ancient and modern traditional images based on Chinese characters are collected and analyzed in hopes to build a reference for personal creations. Calligraphy-based painting is discussed in Section Four with the examples of Taiwanese artists Fo-ting Lu, Zheng-xiong Chen, Xi-qi Li and Dai-le Cheng. Section Five reviews the 2009 Chinese Character Design Week from the perspective argued by Sheng-zhong Lu in his book “Yijiang Wenzi; Design and Characters,” and probes into Lu’s concept and expression techniques through the perception proposed through the “design based on Chinese characters” within the realm of modern design. Reflections are examined for reference for future research. Ideas from literature study are specified in Section Six as a reference for practical creation, while personal creative thinking and practice are proceeded with by the themes, “The application of the Small Seal Script in painting.” Section Seven describes the study and practice of “the application of seal characters in painting” based on the notion of seal characters. The creation theme is fulfilled through digital typesetting and enhancement, as well as a combination of various artistic techniques the author has mastered, including watercolor, Eastern gouache and gold leaf gilding. Section Eight draws conclusion that, through the study of “the application of seal characters in painting,” one may turn the art education background and personal creation context into unique “features.” Vivid new perspectives may be presented after an individual style is constructed with such “features” through repeated contemplation and improvement of one’s creative practice.