Flower, Not FlowerA study of cosmos from my mind on Chinese Painting creation.

• Main Authors: Yen-Cheng Chen, 陳彥丞
• Other Authors: 蔡茂松
• Format: Others
• Language: zh-TW
• Published: 2013
• Online Access: http://ndltd.ncl.edu.tw/handle/00114448888782672388

碩士 === 長榮大學 === 美術系(所) === 101 === This study aims to discuss how the lives and habits of plants, birds, and animals that live in the author’s environment interact with the climate. The author manifests his thoughts in his creations the phenomena and epiphanies that he perceives through his eyes. As described earlier, sometimes the author sees an image of nature full of life and vigor. At other times, the pictures take on the meanings of previous cultural influences. Sometimes, the works are fused with the author’s personal experiences. The author gets an understanding by following the mind and soul and creates analogies with images. The structure of the study is as follows: In Chapter One, the introduction mainly describes the motive, the objectives, the scope of research, and the research method. The steps of the research are shown in a chart. Finally, some special terminologies are discussed and defined at the end of this chapter. Chapter Two discusses the history of classical flower-and-bird paintings. First, the origins of flower-and-bird paintings are briefly described along with the current situation. Then, the author talks about the creative styles of the bird-and-flower paintings of the Sung Dynasty. As the author lives in Taiwan, in addition to the study of bird-and-flower paintings of the Sung Dynasty, the creative development of Taiwanese bird-and-flower paintings are also discussed.The construct of the creative ideals for “Flower，Not Flower” is analyzed in Chapter Three. The author has come up with four major points that describe his aestheticism and thinking—renewed exploration of shape and color, composition and format, brush techniques, and creative content and thought—through the study of history of painting and theory of painting, and collections of works and personal creative ideals that the author has formed through practice. In Chapter Four, the creative works are analyzed. This chapter is about creating the works. The author first talks about how his creative thinking is realized and offers an analysis of why the works are divided into three series—lusting after flowers, clothing patterns, and searching for flowers in the fog. Then, seven major works are analyzed and discussed. Chapter Five conclusion looks back at the study and the results and offers discussion and reflection. Finally, the possibility and development of further studies are discussed.