An Exploration of the Painterliness of Calligraphic Lines－The Calligraphy and Painting by YU ,HUI-YA－

• Main Authors: YU, HUI-YA, 游惠雅
• Other Authors: Ruan, Changyao
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/xq73c8

碩士 === 國立臺灣藝術大學 === 書畫系造形藝術碩士班 === 104 === The goal of this paper is to explore the relationship between calligraphy and painterly lines, focusing on the methods and aesthetic sense of using brush lines. As we know, dots, lines, facets, and colors are the basic elements of a work of art, and lines, as the main form of calligraphy, are most likely to be used for written characters and expression of symbolic meaning. The brush strokes in calligraphy play an important role in artistic quality and mind expression. How to use brushes freely and effectively to present lines that can bring out artistic expressions is the main issue of this study. This study has six chapters. The first chapter “Preface” introduces the motivation, purpose, method, and result of my artistic creation. The second chapter is a documental research to explore the roles of lines in painting. Lines, as Bolan Ke (Charles Blanc, 1811-1882), a Western scholar, said, "are not just a kind of language; they have a variety of dialects, all for the purpose of adaptation to meet all kinds of performance. So we may say that lines are the richest performance of an emotional language." Lines are the locus of moving dots, and they are most likely to be used for written characters and expression of symbolic meaning, and they are also the basic elements of a painting. The third chapter presents my creation that used calligraphic lines. This chapter also discusses and showcases some famous calligraphic works of ancient masters to investigate their ways of handling brushes, say movement-speed, texture-presentation, creative thinking and so forth, that affect the dynamic quality of calligraphy vocabulary. Calligraphic lines are emotional, and they are also logic spiritual structure. Through the line-performance one can touch the artist’s creative thinking and his emotional implication, just as Sun Guo-ting said, “(A line) could be cool like chili winds, warm like a beautiful girl, agitating like the beating of a dry tree trunk, or peaceful like an elegant relaxation.” “(When the brush is writing), it should not stop too long, move too fast; it should be soft with hardness and thick with dryness.” The fourth chapter introduces “Art Creation—artistic connotation and creative Ideas”. For the artistic connotation, on the basis of subjects and contents there are three series: "water scenery", "beauty of curvy lines", "aesthetics in my mind". It is through recording, contemplating, comparing, and analyzing to figure out the differences presented by three series of visual composition and language lines. Then about the creative ideas, the topic is “unexpected brushworks”. In my artistic creation, Muses could come unexpectedly from my knowledge of reading and experiences of travels, and also from my everyday life, all in my rich cultivation. The fifth chapter reviews the past effort and the development process of my artistic life in order to clarify some of my thinking for the future creation. It is my hope that, after going through the past and present, my calligraphy and painting could have a greater result in the future. The sixth chapter, “Reflection and Prospects”, first goes through the selection of subjects from everyday life, as Picasso said, "People look for something here and there, but I can find what I want anywhere.” Sun Guo-ting also said: "The wonderful calligraphy comes around your body." This means that everything around us could be a good subject for painting. So, if you have artistic eye and talents, you can see what other people cannot see, and do what other people cannot do. This chapter also discusses the results, positive and negative, of my calligraphic creation, hoping to have a bright future. I believe that everyone’s artistic sense is closely associated with his life. In art creation, when I reached the stage of ecstasy, I often sang songs and even danced. I was so excited though I did not drink. This is a natural reaction to the creative excitement. So what I hope to do is a work of feeling; I do not like to repeat what other people have done and I don’t like to duplicate my works; nor do I want to copy the natural objects. This, I think, is my instinctive nature! There is a strong creative intention to explore what in my mind, breaking any old rule and norm to realize the importance of free adventure in the spiritual world as the book “Zhuyshi Xu” of the Han Dynasty says, “Poetry is a house for artistic volition. While the poetry stays in one’s mind, it is volition; while it comes in words, it is a poem. Then there is emotional feeling inside and a form in words. If the words are not enough, there comes a sigh. If the sigh is not enough, there is a song. Finally, if the song is not enough, it calls for a dance by moving arms and legs.”