A Discussion on the Spatial Block Structure

• Main Authors: Fei-wen Li, 李翡文
• Other Authors: Sheu Kuen-Cherng
• Format: Others
• Language: zh-TW
• Published: 2005
• Online Access: http://ndltd.ncl.edu.tw/handle/69421619870208312034

碩士 === 中國文化大學 === 藝術研究所 === 93 === The nature of art exists eternally, but the forms of expression chose by the artists vary continuously. The birth of a piece of artwork is like the process of translation. Artists convert the perception toward an object into an emotional form, then use a specific form to draw the object. The key of preserving inspiration and utilizing skillful techniques to unfold the value of life is at the condensed composition of the artwork. The author focuses the creation on plane drawing, and draws the refined concepts and theories in the art history to discuss the spatial level of the composition – organization and structure. The beauty of Chinese calligraphy, which derives from the same source as painting, reveals the basic elements of drawing, such as dot, line, and plane, through which the tension of the character structure and rhythm of the lines are expressed. The spatial relationship between the characters and paper is complementary to construe a momentum which is similar to the close bond between the background and object of a painting. The Western painting concept adopted the purism of a painting composed with basic formal structure proposed by Cezanne, and discussed the fundamental value rationally and broke free the traditional norm at that time, thus, has placed significant influence on the evolution of the modern art. The author probes into the rich content of the paintings based on the spirit and mission of the painting. Chinese paintings appear more exact and emphasize on realistic style. In fact, most paintings illustrate natural scenery that is ideal to the painter to express the motions. Japanese paintings, which share resemblance with Chinese, indeed share many dissimilarities and similarities with Chinese painting in terms of painting style and perspective technique. The techniques and painting styles of the two are compared and discussed. The natural elements of a space, including light, shape, and color, are divided into independent forms and figures. The individual angle of the object is overlapped on the picture, which compressed space and characteristic of multiple expression convey the interlock and condensation of space and time. The author refers to Gris, the master of Cubism, and Corbusier of the Purism, whose painting concept focuses on deleting unnecessary details, concentrating the idea from the deepest part of the heart, reconstructing the object after simplifying, and constructing the realistic meaning of the concept. Apart from dismantling the object and space, the passage of time and residual image of the visionary movement became the important element in the composition. The painting characteristics of Cubisme Alternatif and Futurism are also research directions. Often, the creations based on instant inspiration are being criticized as over sensitivity; yet, analyzed and re-interpreted artworks are categorized as rational expression. In fact, a touching artwork should contain both perceptual intuition and rational knowledge, and exhibit the vitality of painting in a balanced rhythm. In the overall composition structure, the visual and perspective relationship affects the structural organization of the object block and line separation. The perspective of the three dimensional space and the contrast of light and dark result in bas-relief effect, thus, making the space more acceptable as a plane drawing. Also, the color disposition not only expresses different emotional mix, but also brings subtle space with fluctuation to the color blocks. The fusion of cold and warm colors fills the artwork with more infinite possibilities. The author intends to gain a comprehensive understanding of the art knowledge and concept, and blend the vitality that is beyond the form into the art creation so that the artwork would exhibit spiritual artistic characteristic.