| Summary: | 碩士 === 國立臺灣藝術大學 === 造形藝術研究所 === 98 === Abstract
“Mountains,” if they ever lose the magnificent and continuous variations of dazzling forms of the clouds around, they certainly lose their majestically impressive immensity of beauty and power. Therefore, we can say that “Mountains live because of the clouds.” Clouds reinforce and represent the spirit of the mountains, and they also provide endless inspirations of artistic creations of landscape painting. The aforementioned relation between mountains and clouds is the topic that fascinates me to work on further studies and more paintings.
Furthermore, Huangshan is highly praised for its immensity of beauty and power, and its poetic scenery intoxicates all artists because the clouds seem to be alive around the mountains of Huangshan. Thus, Huangshan is recognized by many artists to be the most beautiful place in the whole world and provides the most inspirations to painters. Shi Tao often climbs up Huangshan to collect all the wonders of peaks for his sketch. Zhang DaQian visited Huangshan three times, and reached to the top of it twice, and he left the world with stunning amount of creations featuring Huangshan. The fact that many great artists make Huangshan their theme of creation, inspired and motivated me to make seven personal visits to Huangshan and work on my topic of creation essay entitled, “Massive Vapor Glows Lively Around Huangshan.”
This essay includes six chapters as following:
Chapter One: Introduction to study motive, study purpose, study results, and study methods. I intend to learn from the great painters who painted Huangshan and follow their lead to the perfection of arts.
Chapter Two: Introduction to culture, geographical features, weather of Huangshan district, including the community features and history, geology, queer pines and stones, and the factors that create and form the sea of clouds of Huangshan.
Chapter Three: Studies of esthetics of artistic creations featuring Huangshan clouds, including outdoor sketch, ancient theories and techniques of cloud painting, and the influence of “chan” on the landscape painting.
Chapter Four: Analysis on the paintings of Huangshan clouds, discussion of the future development, techniques, and works of art of landscape painting of Huangshan.
Chapter Five: Discussion of the concept of “similarities and differences,” personal observation and sketch of Haungshan clouds, and the process and analysis of artistic creation.
Chapter Six: Conclusion. After discussions of concepts and process of artistic creation, along with the understanding and appreciation of it, I bring up the idea of my personal future creation, and pose high expectation to it.
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