| Summary: | 碩士 === 東海大學 === 美術學系 === 97 === Abstract
An artist’s esthetics should accentuate creation itself rather than theory interpretation. For this reason, I, as an oil painting artist, choose to retrace my personal practice, which is plain and rustic. In other words, I reflect on my esthetics by examining my own creation, and further explain the reason why I favor “nature” as my subject matter and why I prefer thick pigment that resembles carving as my painting technique. Instead of getting lost in the tremendous and violent flow of modern and contemporary art that has been dominating over nearly one hundred years since post-impressionism, I reconsider such qualities of painting as balance, harmony, tranquility, clarity, order, coherence, form, wholeness, fullness, plainness, harmlessness, and beauty while creating my own work, supported by clear esthetics, philosophy, and art theories.
French artist Henry Matisse once declared in his work Notes of Painte, “Only the work can best communicate the creator’s ability and intention.” And I totally agree with him. Therefore, I reserve the first part of this thesis exclusively to be display of my artistic works, leaving my self-commentary behind in the following parts.
The structure of my thesis is as followed—
I. Creation of work
1.Scenery in my hometown: Including Old House Before Dusk and other nine canvas works
2.Extracts from the lost days: Including Purple Wrinkled Giant Hyssop at Dawn and other sixteen canvas works
II. Self-commentary
1.A blank canvas: In this section, I quote as many epochal modern and contemporary artists as I can to support my contention. Viewing remarkable ideas from Manet, Monet, Cezanne, Gauguin, Munch, Matisse, Picasso, Kandinsky, Mondrian, Malevich, Pollock, and Andy Warhol, also even from Duchamp and Manzoni, I boldly manifest the fact that “a blank canvas” will be an inevitable result of “the heyday of materialism”. I will then depart from that point, embrace the idea of “addition”, and mold my future creation.
2.The process of creation: There are four sections in this chapter, clarifying my creation position, language and techniques.
(1) I would linger out the adventure of form prevailing in post-impressionism.
(2) Opposability and rivalry can bring heavenly harmony.
(3) My language
(4) I must bravely touch the material world.
3.Between mind and material: Inspired while viewing Van Gogh’s original work, I decide to examine Delenze’s definition of art, “dimness of sensory recognition” brought up by Democritus in his Atomic Hypothesis, and Liu Xie’s The Literary Mind and the Carving of Dragons while referring to my own experiences of creation. By doing so, I try to clarify the relationship between mind and material during creation, figuring out their complex dynamics and reciprocal effect.
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