| Summary: | 博士 === 國立臺灣師範大學 === 美術學系 === 100 === Creation is the presentation of an artist’s direct feelings and state of mind, which, by drawing on the canvas and visual sensation, gives one’s soul a sense of belongingness. Through their perception of the external scenery along with the composition, organization and application of different drawing elements, creators bring forth the objective truth in the scenery as observed before their eyes and express the “mind” in their hearts via the “image” they see. Painters do not only paint to portray objects, they do so in order to reflect their emotions via the objects. As the painted object is bestowed with artist’s own feelings, each painting’s uniqueness has become the essence of drawing. Artistic thinking determines depth of creation. Art appreciation of the aesthetics and the conception of oriental Zen have had huge impact on the presentation of oriental poetry and paintings. Even Western artists practicing abstract paintings and art in the 1950’s were influenced by oriental Zen.
Therefore, through the transformation of Chinese Zen aesthetics and the development of Zen philosophy, this study and implementation practice will be attempting to discuss the process on how Buddhist Zen was introduced to China and turned into aesthetic Zen as well as the artistic thinking of Zen, as an effort to understand how Buddhist Zen is transformed to aesthetic Zen. Then from the development of image theory in Chinese classic aesthetics, “image”, “artistic conception” and the transformation of “turning scenery into emotion” will be analyzed. Via our ancestors’ rich discussions on aesthetics and examination of aesthetic conception, art appreciation in Chinese classic aesthetics is integrated. And using the studies related to the theories of the realization and emptiness of Zen aesthetics as well as the conception and emotion reflection in Chinese classic aesthetics, academic foundation of my own creation theory is firmly rooted. Moreover, this paper will also be attempting to analyze the impact that aesthetics and the conception of oriental Zen on the arts of East and West, especially those artists who used Western medium (oil painting) in their work. Lastly, I will present the results from my study and implementation.
This paper is divided into six chapters: Chapter 1 – Introduction covers the discussion of the study’s motivation and goal, content and range of study, study methodology and steps. Chapter 2 – Transformation of Oriental Aesthetic Zen examines the beginning of Zen and its transformation into aesthetic Zen, from early development of Zen in China to the formation of aesthetic Zen. In Chapter 3 – Rotation of “Mind” and “State”, via our ancestors’ rich discussions on aesthetics and studies of aesthetic conception, from the development of image theory in Chinese classic aesthetics, “image”, “artistic conception” and the transformation of “turning scenery into emotion” are analyzed. Chapter 4 summarizes the development and characteristics of arts from the perspective on how Zen has influenced the arts in the East and West. Chapter 5 covers the layout of personal creative works and implementation of the study. And the final chapter is the Conclusion.
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