Transitions - a discourse on Lin Chia-Hsien’s gongbi artworks

• Main Authors: Chia-Hsien Lin, 林家賢
• Other Authors: Yu-Chi Han
• Format: Others
• Language: zh-TW
• Published: 2019
• Online Access: http://ndltd.ncl.edu.tw/handle/82dyec

碩士 === 國立東華大學 === 藝術與設計學系 === 107 === During the first three years of entering the realm of drawing and painting, the author spent a lot of time learning and grasping its basics. In this thesis, the author hopes to use the path of learning about the art of the traditional Chinese gongbi (also known as ‘meticulous’) style of painting - first to imitate, then to sketch from nature, lastly to create - to begin step-by-step to talk about its importance and the difficulties encountered. The author wanted to create an honest record and analysis for future readers of this thesis who might also be beginners embarking on this technique. Whilst in the process of writing the thesis, the author interviewed master Zhao Xiu-huan in order to receive and collate first-hand information on her thoughts about her artistic creations throughout her life. The author also personally went to Beijing with the purpose of studying this technique. With these two actions combined, the author was able to gain a better grasp of the whole concept of this technique. In the past, the author had received written information regarding Zhao Xiu-huan through the words of friends or the articles of art critics, and so this information would often be based upon feeling. Therefore, the author decided that in his own writing, he would choose to present a more objective and rational view of a full and accurate record of Zhao Xiu-huan’s artistic process. While creating his own artwork, apart from the practices of imitating and sketching from nature, the author also in the later stages broke away from the traditional gongbi style of painting scenes of flowers and birds, but instead embarked on his own artistic language, to produce a series titled, Half Moon. He wanted to attempt to challenge and dissolve the boundaries between traditional and modern painting. At the same time, he wanted to use a narrative style to increase the chances of continuity in his artwork. In this process of change, the author talks about each piece of art in turn, to record the difficulties faced and the solutions found for each artwork. The thesis has been split into five different chapters, the first chapter talks about the background and the impetus for this series of work, as well as uses the methods of documentary analysis and interviews as his research method. The second chapter, document analysis, summarizes the method of imitating in the initial stages of learning about Chinese painting, as well as uses tabulation in order to elaborate upon the points. It then discusses sketching from nature as well as the overall context. At the same time, in the second chapter, the author interviews gongbi master Zhao Xiu-huan, starting from her life, then her painting philosophy, and includes a step-by-step analytical record of her painting methods. Chapter three discusses the author’s own artistic process and technique, and displays the thoughts and feelings of the author during the creative process, as well as how one can construct one’s own creative philosophy. It also introduces one-by-one, the drawing and painting techniques and mediums used. Chapter four is an analysis of the artwork created. Apart from the implied meaning conveyed in each piece of art, the author records the difficulties faced in each piece of work, and describes the process for solving these problems. He hopes that those who encounter similar difficulties in using this technique can overcome their own obstacles too as a result. The fifth chapter concludes the thesis, and provides a conclusion for the whole series of artwork produced.