Recreating Taroko Gorge as Dreamlike Landscapes: A Utopian Creative Study

• Main Author: 呂坤和
• Other Authors: 江明賢
• Format: Others
• Language: zh-TW
• Published: 2009
• Online Access: http://ndltd.ncl.edu.tw/handle/vb44fe

博士 === 國立臺灣師範大學 === 美術學系 === 98 === The meaning of creative studies lies in extending the possiblity of creative practice and exploring creative theory through delving into art technique and theory with a view to expanding the scope of art creation. As a Taiwanese landscape painter, the author believes that one should diligently learn about the topography of Taiwan’s mountains and forests, remain faithful to the island’s natural and indigenous traits, and represent the pulse of the time. Thus, by discussing and exploring related theories and documents, the author wishes to fully enrich the aesthetic thinking and value of creative paintings. Composed of five chapters, this dissertation uses the Taroko Gorge as subject matter to explore new forms of constructions and expressions in landscape paintings. The subtitles of the five chapters run as follows: Introduction (Chapter 1); Rebirth of Dreamlike Landscapes (Chapter 2); The Aesthetics and Practice of Creating Dreamlike Landscapes (Chapter 3); An analysis of the Constructed Series of Dreamlike Landscapes (Chapter 4); and Conclusion and Prospects (Chapter 5). Using art as social critique and the “distancing” techniques of creation, the dissertation attempts to explore the implication of “constructting the dreamlike landscape” by adopting the aesthetic theory of Theodor Wiesengrund Adorno (1903-1969) of the Frankfurt School. In so doing, the author will also draw upon the Taoist and Buddhist thoughts and space consciousness from the philosophy of Chinese dynasties and turn them into a source of inspiration for my creation, thereby extending the breadth and depth of my creation. What is reflected in the dreamlike landscape of my artworks about Taroko Gorge is an exploration into the continuity and regionalism of its landscape creation. Based on personal understanding and observation of Taiwan’s current environment and ecology as a point of departure, this study hopes to open up concrete and feasible methods of painting. New social patterns foster new atmosphere of the times; different life experiences are bound to bring about new feelings and new forms of expression. As a water-ink artist of the new generation, the author makes use of personal life experience as a point of departure and seek to discuss and combine the “distancing nature” of art theories and the practice of art. Using on-site artwork for creation and organization, I tried to record and capture the topography of Taroko Gorge and its ecological changes. The creation of “Dreamlike Landscapes” consists of four main series: “Presentation of the Beauty of the Gorge”; “Changing Typography of the Gorge”; “Transcending the Reality of the Gorge”; and “Concern about the Native Gorge.”Then mediums such as water-based acrylic emulsion paints and imprinting techniques of block prints are used for imprint or wipe, with a view to experimenting with, appropriating, and recombining various techniques. I hope to tactfully represent the transformations of the landscape, attempting to convey the dreamlike beauty of Taiwan’s Taroko Gorge in order to bring into relief the critical function of art. My purpose is to present the dreamlike landscape fictively, mimetically and ironically in order to critique reality. It has been the author’s hope to create an idealized personal “dreamlike state” through transformational, multi-layering methods. In conclusion, this dissertation incorporates the discussion of the aesthetics and techniques of landscape painting into a series of landscape art creations with “utopian” traits.