| Summary: | 碩士 === 國立臺灣師範大學 === 美術系在職進修碩士學位班 === 91 === Abstract
This thesis discusses the evolution and transformation of Chinese traditional figure paintings, particularly Buddhism figure paintings, in design, structure, essence and aesthetics. A comparative study is conducted by close observation and in-depth analysis to assess the differences between figure paintings from the Han Dynasty to the twenty-first century. The thesis also aims to illustrate the characteristics and uniqueness of Chinese figure portraits through the author’s own paintings and the interpretations of them.
When it comes to the evaluation of ancient Chinese paintings, especially more sophisticated ones, critics would argue that the value and beauty of paintings are in proportion to the integration of humans and nature, and of subjectivity and objectivity. They verify that a perfect painting depends on the artist’s creativity in “combining heart with representation.” To be a successful color and ink painter, one has to be constantly up-dated, and thus one will probably be able to bring about a new artistic horizon by following new creeds and thoughts newly discovered in humans and nature.
With the philosophy of Zen Buddhism “observing people of the world with freedom and peacefulness” in mind, the author creates a series of paintings entitled “Benevolent faces of Buddhism figures tell the vitality of life”, trying to interpret the inter-relationships between the inner world of Buddhism figures and outer world of ordinary people. The author also instills into the works her understanding of religion and human life as well as her ideas on art. The author’s philosophy on artistic creations and theoretical research are developed in two principal ways. One is a review of her progress in painting, influenced by various contemporary cross-strait schools of artists, including the Modern Ink Painting Group, Yunlan Thick-color Paintings, Taiwan Color and Ink Painting Branch, and Tibetan T’ang-card Arts. The other is an exploration of the similarities and differences between Eastern and Western thoughts on art and their symbolic meanings implied in it.
The major subjects chosen for artistic works and academic research can be divided into two categories: one is the contents of history, literature, philosophy and nature; the other is “beauty of mind”, which is illustrated in figure formations. In recent years, the author has been devoted to the study of figure formations and engaged in cultural activities, which inspire many of her artistic creations. Moreover, her respect toward the nobility and mercy demonstrated in Buddhism figure portraits in Buddhist temples has led her to the accomplishment of many beautiful paintings. Her works successfully combine lines and embellishment, common traditional Chinese ink painting techniques, with the brilliant colors often used in Western paintings to create a picture of vigor and gorgeousness. Hopefully, her efforts may bring people pleasant and touching feelings and present a different feature and aspect of color and ink paintings.
Key Phrases: Benevolent faces of Buddhism figures tell the vitality of life. Color and ink figure painting, Yunlan Thick-color Painting, Taiwan Color and Ink Painting Branch, T’ang-card Arts
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