| Summary: | 碩士 === 中國文化大學 === 藝術研究所 === 88 === Abstract
There is a close relationship between the development of arts in Taiwan and the life experience of Taiwanese people after World War II, and the ink painting is no exception. This paper focuses on the creativity of the two artists Fu Juan Fu (傅狷夫) and Chao Shao Ang (趙少昂) among many artists who can capture the essence of Chinese culture while pursuing the time spirit.
Fu Juan Fu (傅狷夫) and Chao Shao Ang (趙少昂) both “transformed from the traditional techniques, escaped from the conventional bondage, and expected themselves to compete with masters in the history and to be their counterparts in this century.” Fu Juan Fu (傅狷夫), employing scenography to innovate the techniques of ink painting, invented a special brush stroke called “lie xia chun” (裂罅皴) forged through his consistent and perseverant practice. In addition, he depicted sea waves with “dian zi fa” (點漬法) and the sea of clouds with “rang zi fa” (染漬法). Chao Shao Ang’s (趙少昂) strength is forming his own style by blending Chinese paintings with Japanese paintings. He also emphasized scenography, trying to learn from nature. Being loyal to the natural principles of arts, he made the best of the paintings of the Ling Nan School (嶺南派).
Depicting nature was only the basic skills indispensable to the two artists. After cumulating enough experience in sketching, they built up enchanting scenes in their minds on the basis of what they have seen. They expressed the internalized beauty by means of landscape paintings.
This paper thoroughly contrasts and analyzes the unique features of the landscape paintings by Fu Juan Fu (傅狷夫) and Chao Shao Ang (趙少昂). I expect to identify my own features in the study of arts by working on the compositions of these two artists. I also hope that this work will contribute to the field of arts a new interpretation of the landscape painting.
|
|---|
