Formal Beauty of Dizziness --"Orphism"

• Main Authors: Tseng, Ming-Hsing, 曾明興
• Other Authors: Kun-Cheng Hsu
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/37928821858327152353

碩士 === 中國文化大學 === 藝術研究所美術組碩士在職專班 === 92 === Title of Thesis: Formal Beauty of Dizziness — “Orphism” Institution: Graduate School of Arts, Chinese Culture University Time of Graduation and Nature of Paper: Master Thesis of the 2nd Semester, 2003 Instructor: Dr. Kun-Cheng Hsu and Dr. Mei-Er Weng Master Candidate: TSENG, MING-HSING Date: Jun. 2004 Abstract Sketch is the bone, color is the flesh, and composition is the flowing blood of a picture. Only with bone, flesh and blood can vigorous, lively and vivid works be created. In the early 20th century the whole circle of arts was almost wrapped by 3-dimensional art. This kind of art caused impacts on the domain of traditional arts as its paintings were not restricted by any principles of beauty suggested by any schools or theories. As a result, there was an obvious rebellion against the existence of beauty. In view of the modern society where fine arts have been isolated, and in examination of the precious value of the inheritance of culture, the researcher hopes to pursue the meaning of beauty and pass on the sources of culture through the studies of the sketch, color and composition of “Orphism.” The theories of beauty interpreted by this school can reposition the meaning for the existence of fine arts in the modern times. And these theories can be applied on the eastern or western cultures, developing and extending more creative works. This research paper is divided into six chapters. Chapter 1 “Introduction” explains the aims, intention and research scope and research approach of creation. Chapter 2 “Composition Factors of Artistic Work” explores the reasons for formation of artistic works, i.e. natural form, creative form, color and style, which are the central thinking and evidences of the whole thesis. Chapter 3 “Evolution and Formation of Geometric Paintings” states the past of “Orphism.” To make a vertical connection by historical viewpoint, we should pass on the transmission of culture. In this thesis impressionism, fauvism, expressionism, abstract art, etc. are employed to make comparisons and verification. Chapter 4 “The Master of Orphism — Robert Delaunary” investigates “orphism” of the present days. This chapter makes a horizontal connection through the biography, painting experience and philosophical thinking of Delaunary, the pioneered master of Orphism. Then an appreciation and analysis of his works is made to make a vertical connection. Finally the thesis describes his wife, Sonia’s contribution to this school and the effects of his works to the world. Chapter 5 “Comparison between Eastern and Western Paintings” discusses the similarities and dissimilarities of the spirit, thinking, composition, subject matter, style and skill of the eastern and western paintings. Through the reasons for the formation of the similarities or dissimilarities, the future direction of “Orphism” is predicted. Chapter 6 “Conclusion” discusses the future trend of this school of painting, and makes some practical creation, with the western painting and the eastern water ink painting as the major media of creation. A work explains the creative ideas and feelings of a person. It is hoped that through “new learning methods” and “absorption of the past for application at present,” more springs of creation can be developed to moisten the garden of arts.