A Interpretation of essentials between Chinese Ink and Painting Space

• Main Authors: liu feng i, 劉鳳儀
• Other Authors: 黃光男
• Format: Others
• Language: zh-TW
• Published: 2004
• Online Access: http://ndltd.ncl.edu.tw/handle/47873381003323585257

碩士 === 臺北市立師範學院 === 視覺藝術研究所 === 92 === A. Purpose of Research and Concept of Creation In The Origin of The Work of Art, Martin Heidegger stated, “The origin of the work of art is art.” However, what is art? What is the entity of art? The relationships between the work of art and art seem to resemble the chicken-or-egg paradox. How is the value of a work of art recognized? As a creator of art works, I shall look for the possible existence of art and construct the existence of an artwork in a limited space from the standpoint of aestheticism and semiology. B. Method The material of choice in this research is ink. The usage of ink has a long history in China; therefore, ink possesses many of the Chinese characteristics. The basic structure as well as the signs and symbols utilized in my artwork are based on western philosophies and theories of Chinese artists in the history, which guided my process of creation and also established the value of my own artwork creation. C. Conclusion Art is a journey of an artist’s self-reflection. In order to pursue an existence of values, people search for self-breakthroughs. The work of art in every stage, as Schiller stated, is only a transient lodge for beauty; whereas the true meaning of a "work of art", according to Heidegger, reaches its independent existence through its creation artist. Rene Descartes declared, “I think; therefore, I exist.” An artist is always changing and therefore, the existence of an artist only makes sense through his or her endless creation of artworks.