Spiritual experience and Ink and wash painting creation

• Main Authors: Chien Kun-Chen, 陳建焜
• Other Authors: 林昌德
• Format: Others
• Language: zh-TW
• Online Access: http://ndltd.ncl.edu.tw/handle/np64kt

碩士 === 國立臺灣師範大學 === 美術學系 === 97 === This essay purposes to discuss the production of ink painting, whose creative sources and diversity are rooted in the process of sense experiences, enabling the precipitation of the assorted thoughts in mind where conscious lies. 　　Sense experience ranges from as small as responses to personal environment, to as large as reflections to the universe. With each individual possessing different perceptive senses, their definitions and values differ. Therefore, creative works of art vary with the environment, as the sense experience occurs upon the interaction between the artist's value perception and the artistic output. People form experiential memory through the encounter of inner selves and outer existences. This essay discusses the importance of freedom, and explores the interrelation between values, anxiety, psychological effects, and pause. An example of creative art work solicited by spirit and the freedom of creation is also provided. 　　The process of experience can be understood as the serendipity of men and the environment. The Tien-Tai Buddhists’ notion cited in the essay, “Three thousand existences in a single thought”, illustrates the ten dharma realms, which is descriptive of human life propensities. The concept of “Ten Such-likes” explicates the way things are connected with "all thinkable phenomenal elements". Along with the idea of “three divisions of each realm of existence”, the relationship of men and the surrounding is portrayed. Simply because of the differences within individuals, different interpretations towards the environment are resulted. “Three thousand existences” exerts all possibilities of life, and it plays an important role in sense experience. In fact, it enriches the creative mind. 　　Among the assorted painting materials, ink painting exhibits a "Brush-ink spirit", which is construed as a unique philosophy and skills. Ever since Sung Dynasty, it has been the main-stream painting method. Ink painting, as expounded here, stresses "the spiritual touch", and artistic fineness denotes the reflection of the spirit. The process of experience projects the spiritual beauty. The source of an ink painting is often through observation and experiencing nature, so as to present the subjective and objective beauty and to illustrate the zeitgeist of the artist. Ink painting, therefore, changes through time and also reflects the art producer's experience. 　　In the concept of creation, the relationship between the landscape sketch spirit and symbolization, metaphor, re-appearance of spirit are discussed. In the process of sketching, intuitive expression is to present the well-formedness and vigor of the depicted. Symbolization is a form of self-reawaking by means of experience involvement. Metaphor denotes a skill of transferring a value from one thing to another, while spiritual re-appearance refers to the sudden insight coming from the accumulation of sense experiences. Through the means, brush and ink, an ink painting art work is cultivated from the nutrition of the spiritual experience. 　　Art production combines mind and matter. Art works of Mind, as exemplified in “All Reflected within the Mind”, and “Demise and Rebirth, the Incessant” convey the reflection and recollection of contemporary time, space and technology. Pieces of Matter, such as “Thou Art Almighty” and “Behold the Scenery in Bao-Lai”, on the other hand, portray some endemic culture or natural wonders. Through the media of ink painting, we make possible the surrealistic work of mind, and the sketch-based, mental projection of matter. Ink painting works is produced through the artists’ spiritual experiences and metal process. It corresponds to the time as well as it paints the zeitgeist.