| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系 === 106 === Conceived through sketching to build scenes, this paper, taking its theme of ecological fine figure brushwork, aims to investigate how biological diversity in Taiwan may engender new individual styled fine figure brushwork painting by combining traditional fine figure brushwork and modern multi-faceted composite media.
Since its beginning in silk painting in the Warring Nations and through the developments in Tang, Sung, and the interim Five Dynasties, over a millennium of changes in technique, method, and material, traditional fine figure brushwork is multifaceted but tends to have objects and scenes that are either free or congratulatory, as influenced by literati painting which emphasizes on showing scenarios. For this reason, the birds, beasts, and plants painted, though having their own meaning, are unrelated to the environment though being beautiful. In philosophical terms, fine figure brushwork has lost its spirit of sketchbook from Neo-Confucianims (Li-xue) in Sung Dynasty. As a result, such combination without ecological or scientific concern is now little investigated.
Through ecological Art, or artistic expression of both interaction between creatures and relationship between creatures and the environment, I will blend this definition with modern fine figure brushwork, and, with actual on-site field observation and through self-epiphany from building scenes through sketching, add personal thought, shape concepts and build scenes through traditional Chinese literati thinking, finally becoming my fine figure brushwork. “Ecology” refers to the collection and observation of elements and materials that will create indigenous flowers, birds, mammals, and plants in Taiwan and find the relationship between plants and species with special focus on Taiwan indigenous birds and rare mammals, with scientific observation, on-site sketching, photographing, and literature survey. The result is an up-to-date ecological fine figure painting.
This paper also delves into the origins of Taiwan fine figure painting and of ecological art, analyzing the transforming scene of painting, in order to understand the position today for modern fine figure painting through composite material and to clarify personal thoughts that set the creative direction and aim. I also hope a new view may be opened for new materials and new concepts, so as to broaden personal concepts in painting.
|
|---|
