| Summary: | 碩士 === 國立臺灣師範大學 === 美術學系 === 102 === In the subject matters for painting creation, the fantasy and myths contained in the natural scenery have been catching painters’ attentive eyes, like an image in the realm of idealness. It is not until the 16th century when the Western scenery painting was taking shape gradually, but the Chinese landscape painting has long grown independent and significant since much earlier times. Therein, the landscape aesthetics of the “garden” culture prevailing in the Tang Dynasty not only constructed a real picturesque space for living and traveling but also was categorized as one of the subject matters for landscape paintings at the same time. The "garden" design falls between natural replication and artificial manipulation, meeting various conditions to be a human living place like a dreamland. In the former society, the contents and functions of landscaping spaces were shaped by the accompanying activities of aristocratic playing and resting and scholarly gathering. It’s much so in the Tang and Song Dynasties. Take as a particular example the Tang Dynasty's “private garden”, because of changes in social class and living environment, it was uniquely developed as a garden for residence and pleasure touring, further closer to the thinking epitome of the small yard and forecourt garden in the residence of modern city.
The study content and creative direction of this article have been based on the above-mentioned historical data to understand the traditional landscape painting and garden culture as the basis and then through the viewpoint of Merleau-Ponty's “Phenomenology of Perception” to re-examine how the garden nature and pattern originally identified by us was reshaped and transformed and how much the visible scope and unknown phenomenon was implied in the habitual perception of inherent space and our way of looking at things. Let’s return to ourselves as the start point to explore the body-subject’s living space and the original body space and open the world of “leib” which can be felt or seen by the “body” perception. Also the “body intentionality” was used to shape up the perceptual space and content after perception. Then the perceptual feeling was transferred to painting behaviors and plane images, and thus a perceptual phenomenon belonging to plane painting was created. In addition, the “interval” theory of architectural space was adopted and used in the experiment to create both the physical garden space and painting space. I also tried to transfer the perceivable “interval” to the second tier of painting “interval” to deal with the plane pictures and the images from visual sense of time and space, so that works might speak again independently for themselves and help the viewers to reshape the impression on the perceptual space and situation built up by the works.
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