Nature, Humanity, and Multiculturalism: A Study of Juxtaposition and Integration in Ink Paintings

• Main Authors: Huang Shu-Ching, 黃淑卿
• Other Authors: Chiang Ming-Shyan
• Format: Others
• Language: zh-TW
• Published: 2011
• Online Access: http://ndltd.ncl.edu.tw/handle/33178033202662426620

博士 === 國立臺灣師範大學 === 美術學系 === 99 === Abstract The research is mainly focused on diverse cultures in Taiwan. In addition, the study apply techniques of juxtaposition and integration of mixed media, the skill of image composition as a form, and the texture of wood-block printing as the main structure to deal with the issues of a concern for nature, humanism, and the integration of diverse cultures. Moreover, the author also uses the idea that birds sing freely in trees as a way to express the multi-dimensional thinking of media forms and of freely placing painted-birds in the works. The summary of each chapter presents as follows. Chapter 1 Introduction: The author illustrates motives, objectives, content and scope, methodology, and limitations. Chapter 2 Starting by exploring the aesthetics of flower-and-bird paintings in the Chinese culture, the author discusses a long-lasting and intertwined relationship between flower-and-bird paintings and the Chinese culture, the borrowing of symbols in bird paintings, and the social culture in flower-and-bird paintings. In addition, the author adopts the viewpoints of contemporary Taiwanese art critics whose publications are primarily discourse-based. Moreover, the author uses the modern ink paintings whose themes are centered on humanistic care and a concern for nature and exploits aboriginal paintings either collected or created by Chi-lu Chen or by artists in the Japanese colonial period and in contemporary times as reference. Chapter 3 Ink-painting artists integrate, intertwine, and deal with the mainstream culture, the contemporary art, and life. The author seeks to represents how ink-painting artists find out a path to multicultural integration and mixed media when facing various and obscure styles of modern art. The author learns from folk art and aboriginal art and renders to symbols and codes in the secular culture. Moreover, the author also borrows familiar and strange images in folk life to apply to backgrounds of ink and color paintings. The works present indigenes’ awareness of their traditional cultures, their identification with their own cultures, the integration and sublimation of indigenous culture and Han culture, and the forms, styles, and characteristics of aboriginal art to further create works juxtaposing and integrating diverse cultures. Chapter 4 The author presents her understanding of image-composed painting styles and illustrates her ideas with totem-composed ink paintings by other artists ,including the symbols of arrows and aboriginal totems, to discourse what images and codes signify in image-composed ink paintings. In addition, the author integrates ink paintings with multi-media as a creation form to illustrate the juxtaposition and integration of ink paintings and mixed media, including the wood-block printing, glue color, and gold foil. Chapter 5 Based on various forms and themes in the course of creation, the author sequentially illustrates the ideas and meanings of personal created images, including transformation and representation, a perpetual care for lives, freedom as birds sing freely in trees, symbols and contrasts of birth/death and blooming/withering. The author explores paintings composed of personal-created images, emptiness and actuality, the aesthetics of leaving blank space, the forms and characteristics of personal works, including the choice of painted birds among local birds in Taiwan and the representation of local characteristics to explore the deconstructive ideas of wood-board texture in ink paintings and construct a special beauty of forms. In addition, the author expects that ink paintings can be represented splendid without depending on the light and heavy ink tone. The author also hopes that printmaking can be vivid and lively in addition to clear engraving lines. The author uses the wood-block printing to render the beauty of nature, the sculptures in temples, and aboriginal wood carvings to discourse the handling of wood texture and the beauty of forms Chapter 6 The author analyzes four main themes in personal creations, including nature and humanistic environment, folk cultures and art, the material culture of different tribes, and indigenous images and cultures. In addition, the author individually introduces the causes and meanings of her ink paintings that represent ideas of indigenous images and the freedom as birds sing freely in trees. Chapter 7: In the conclusion, the author summarizes the thesis in accordance with the creation concepts, content, elements, styles, and techniques. Through the experimental paintings which perfectly and harmoniously integrate wood-block printings with ink and color, the brush moves easily and freely in the world created by the effect of wood-block printings. Free-flowing ink and the effect of textures of wood-block printings compose a new field of vision and create a world of Zen in the art field integrating diverse cultures.