Thousands of mountains rise to show their beauty． myriadrivers flow to exhibit their energy Research on the Art of Waterfall Landscape Presentation

• Main Authors: HUANG Shu–Fan, 黃淑蘩
• Other Authors: Kao Tsung-Yen
• Format: Others
• Language: zh-TW
• Published: 2006
• Online Access: http://ndltd.ncl.edu.tw/handle/82875471238747549877

碩士 === 長榮大學 === 視覺藝術學系碩士班 === 94 === Thousands of mountains rise to show their beauty, myriad rivers flow to exhibit their energy Research on the Art of Waterfall Landscape Presentation Abstract The objective of this paper is to investigate the presentation of “waterfall landscape”. This research embodies landscape esthetics of ridged mountains and winding rivers. During the research, verifications of theories were conducted and actual paintings were personally practiced. The two corresponds to each other; thus, they serve as a basis for analyzing different landscaped waterfall images. This paper is divided into five chapters. Main summaries are as follows: Chapter 1 is the introduction; it covers research motives and purposes, research methods and scopes. The introduction also further reviews and analyzes previously conducted researches of similar topics. Chapter 1 also explains in detail the significance and development of this paper. The goal of this chapter is to bring forth a set of complete and clear research results that reflect both theories and actual practices. Chapter 2 grasps on the concepts of attaining features and forms of an art piece by viewing it close up and at a distance respectively. The chapter starts by exploring natural geological environments and their underlying formation mechanisms. Based on the vast research data on waterfall landscapes collected, the chapter inquires into the views of theorists, estheticians, and artists on the correlations between shape, features and forms of an art piece and the landscape itself. A series of calligraphy and drawing techniques of waterfall painting have been induced by further analysis of Mustard Seed Garden Manual of Painting, classical theory and modern theory of paintings, and painting techniques. The techniques are then applied to investigate the characteristics of waterfall landscaping. The focus of this chapter covers a wide range of waterfall landscape theories from the Northern and Southern Dynasties to contemporary theory of painting, and classical literatures. Comparison between the formations of real waterfalls in mountains and their calligraphies has been conducted in order to produce a comprehensive collection and induction of classical waterfall theories and real waterfall landscape structural paintings. The first part of Chapter 3 elaborates on the esthetical connotations of waterfalls in paintings. The chapter then examines some of the famous classical paintings of waterfall; the forms and dynamics of which are analyzed using the concept of “liu-yuan” (the six types of mountain perspectives). Selective poetry from the Tang Dynasty related to waterfall landscapes have also been compiled, as poets’ descriptions of concepts and esthetic views are often considered as useful sources for analysis on the beauty of natural waterfall landscape and scenery. “Liu-yuan” consists of Guo Xi’s “san-yuan theory” (the three types of mountain theories) and Han Zhuo’s “san-yuan method” (the three types of mountain perspectives). The theoretical structure and underlining meaning of “liu-yuan” are explained in this chapter with references to the theories of well-known estheticians. The chapter’s ultimate purpose is to conclude and present connotations of waterfall landscapes in Chinese landscape paintings and esthetic features of waterfall landscapes in Chinese art. The analysis was done by studying the past and contemporary ideologies of theorists, painters, poets, and estheticians, and by looking at paintings that a poem draws, and vice versa, as the two are often juxtaposed and associated with each other. Chapter 4 covers practices and analysis of art works; the styles of which are analyzed by the overall features of the art pieces. The analysis of a series of seven art works is further divided into five criteria: creation concept, principle fundamentals, content form, material and techniques, and overall presentation. The objective of this chapter is to comprehend a personal style that corresponds to that of theories by way of cross comparison between assimilation in overall analysis and differentiation in series analysis. Chapter 5 is the conclusion. Artistic creation is a convergence of personal spirit and nature; thus an art work is never just a replica of an object. Chinese landscape painting is the mainstream of Chinese painting. The “yuan” (perspective) spirit of Chinese landscape paintings originates from humanities tracking back to thousands of years ago in China. In order to paint it well, one needs to understand it; in order to innovate Chinese landscape painting, one needs to experience it in depth. The process of literature review in research writing allows us to clearly structure the past and vision the future. The practice of creation allows us to invent a more contemporary and broader perspective of art language through integrations of different philosophies, and extensive training of brush and ink techniques. As a result of close interrelations between theory and creation, the following conclusions have been inducted: (1) Through exploration of theories and history of waterfall landscape painting, and experiences gained, this research has broadened the view of the author, which inspired a fuller scope of freedom and creativity. (2) The formation of waterfall landscape on canvas is a way for the artists to express themselves. The “water philosophy” of scholars has internalized into the minds and hearts of the Chinese people through time, which consequently had a great impact on landscape paintings. The theory of Chinese landscape paintings and “water philosophy” of scholar painters gradually converged as one and paved the foundation of Chinese landscape paintings. (3) Spaciousness of a canvas originates from the ability to shape an object and integration between objects. Traditional Chinese landscape paintings have been influenced by the philosophy of “yuan”; thus, the presentation of an image space is often veiled and implicit. Rather than a mere representation of real space, Chinese landscape painting is art that reflects the interactions between factual and fiction. Together, theory and creation of waterfall landscape explore a different kind of “yuan” philosophy of nature and painting, and build a new ideology of personal “yuan”.