Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy

碩士 === 國立屏東教育大學 === 視覺藝術學系 === 97 === Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy Abstract The origin of this study was based on the enthusiasm on sentimental philology and calligraphy. I wanted to investigate the association among sentiments, poem and call...

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Main Authors: Hung-Miao Lu, 盧虹妙
Other Authors: Ying-Wen Chen
Format: Others
Language:zh-TW
Online Access:http://ndltd.ncl.edu.tw/handle/bx49k8
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spelling ndltd-TW-097NPTT56160082018-04-10T17:12:09Z http://ndltd.ncl.edu.tw/handle/bx49k8 Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy 道是無情還有情—盧虹妙書藝創作理念及解析 Hung-Miao Lu 盧虹妙 碩士 國立屏東教育大學 視覺藝術學系 97 Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy Abstract The origin of this study was based on the enthusiasm on sentimental philology and calligraphy. I wanted to investigate the association among sentiments, poem and calligraphy. I hoped this study could bring new version and feeling to the clients. The purpose of this study was to express the spirits and emotions by the combination of poetic boundary and personal calligraphic creations. The investigator tried to analyse myself the change and evolution of spirit via calligraphic art creation. Above the exploration of the theoretical basis, first, I study the sentiment of calligraphic art and the individualism in the Sung dynasty. Second, I analyse the sentimental component in poem of Su-Shi to investigate the expression method of famous calligraphic creations. As for the materials, styles and techniques, the investigator focused on the multitudinous creations and experimental spirit via the combination of the following assistants (alum mucilage, sponge, brush, salt, and Medium density fiberboard). The techniques included fade in-fade out, ink washing, rubbing, and water painting to break through the space of traditional calligraphic art creation. In order to expand from traditional point-line-plane to three-diversion expression, installation art was cited. The contents of creation included three major portions: Flight in time, sentimental collections, leisurely interest. I try to express the spirit sublimation and evolution from extrinsic environment, personal boundary, to unselfish boundary, and to encourage people handling the difficulties with optimistic attitude in our life. Via the calligraphic art creation and investigation, the author concluded that calligraphic art was a boundless knowledge for study. The author would create more other calligraphic art collections aggressively in the future to gain more spiritual growth. Ying-Wen Chen 陳英文 學位論文 ; thesis 100 zh-TW
collection NDLTD
language zh-TW
format Others
sources NDLTD
description 碩士 === 國立屏東教育大學 === 視覺藝術學系 === 97 === Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy Abstract The origin of this study was based on the enthusiasm on sentimental philology and calligraphy. I wanted to investigate the association among sentiments, poem and calligraphy. I hoped this study could bring new version and feeling to the clients. The purpose of this study was to express the spirits and emotions by the combination of poetic boundary and personal calligraphic creations. The investigator tried to analyse myself the change and evolution of spirit via calligraphic art creation. Above the exploration of the theoretical basis, first, I study the sentiment of calligraphic art and the individualism in the Sung dynasty. Second, I analyse the sentimental component in poem of Su-Shi to investigate the expression method of famous calligraphic creations. As for the materials, styles and techniques, the investigator focused on the multitudinous creations and experimental spirit via the combination of the following assistants (alum mucilage, sponge, brush, salt, and Medium density fiberboard). The techniques included fade in-fade out, ink washing, rubbing, and water painting to break through the space of traditional calligraphic art creation. In order to expand from traditional point-line-plane to three-diversion expression, installation art was cited. The contents of creation included three major portions: Flight in time, sentimental collections, leisurely interest. I try to express the spirit sublimation and evolution from extrinsic environment, personal boundary, to unselfish boundary, and to encourage people handling the difficulties with optimistic attitude in our life. Via the calligraphic art creation and investigation, the author concluded that calligraphic art was a boundless knowledge for study. The author would create more other calligraphic art collections aggressively in the future to gain more spiritual growth.
author2 Ying-Wen Chen
author_facet Ying-Wen Chen
Hung-Miao Lu
盧虹妙
author Hung-Miao Lu
盧虹妙
spellingShingle Hung-Miao Lu
盧虹妙
Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy
author_sort Hung-Miao Lu
title Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy
title_short Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy
title_full Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy
title_fullStr Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy
title_full_unstemmed Mercy or Merciless—Creative Principles and Analysis of Lu Hung-Miao‘s Calligraphy
title_sort mercy or merciless—creative principles and analysis of lu hung-miao‘s calligraphy
url http://ndltd.ncl.edu.tw/handle/bx49k8
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