| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系 === 105 === The thesis is portrayed through the vocabulary of painting and the process of innermost emotional memory. To explore each painting, the ingenuity of object furnishing and the intertwining of innermost affection were revealed, and from each composition, the most appropriate connotation of painting would be extended. The thesis also punctuated the importance of the complementarity between creative forms and techniques via pondering and probing relevant research.
The author was born and lived in Taiwan, on this island, the sacred land fulfilled with beauty and genuineness, especially in its prolific and distinctive cultures. Namely, the unique culture of Taiwan makes the connotation of creation nestle up arts and livelihood. The author thus composed this thesis with wholehearted honesty. In this thesis, the abundance of great painters was quoted and discussed through the enumeration and analysis of various creative forms or accumulated biographical affection, and in the meanwhile, the thinking of creation could be clarified and supportive to the creations in the future.
The thesis embraces six chapters, and each chapter is expounded on the author’s ideas in creation. Research motivations were emerged from the pure love of thematic images, and then the basis of creation was burgeoned from interesting themes and relevant aesthetic theorems and foundations.
In the thesis, within the introductions of the masterpiece of world class painters, the research direction was followed with the thinking of creation, and then discussed how these creative works became mature performances. In the process of works interpretation, the painting skills were not the only core of creation but the most significant expression of all.
Therefore, the author consulted supervisors during the graduate school, learning how to induce the relevance of technique through the actual creations.
Through the thesis and relevant creations, the author reflected its disadvantages and cautiously considered how to progress the creation of painting in the future, to make the author transfer to mature creations and in-depth connotation of creation.
Key Words : Affective Memory, Painting Language, Taiwan Culture, Totem, Futurity
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