| Summary: | 碩士 === 國立臺灣藝術大學 === 書畫系造形藝術碩士班 === 103 === This thesis, on the topic of Wandering and Observing Within Simulated Forms, primarily discusses my work created in 2010–2015, which is divided into two series: Holiukan (2010–2013) and Holiukan to Paris (2013–2015). The term “wandering and observing” (youguan) originated in the Six Dynasties from the notion of mental travel (woyou) proposed by Zong Bing and consequently elevated the status of landscape painting. Youguan was officially established during the Northern Song Dynasty in Linquan Gaozhi (Lofty Record of Forests and Streams), composed by Guo Xi, who believed that the landscapes painted by the literati as a pastime should be walkable, observable, habitable, and traversable. Regarding simulated forms (nixing), I used the form of the character Goku from the manga series Dragon Ball to represent myself, transforming it into the form of a dragon in the Holiukan to Paris series. In addition to referring to the spatial dimension in landscape painting proposed by Zong, youguan contains the essence of Zhuangzi’s “free and easy wandering” (xiaoyaoyou). According to the distinction of “seeing the small from the viewpoint of the large” proposed by Song Dynasty statesman Shen Kuo, I discuss the space required for wandering and observing from differing Eastern and Western perspectives.
Originally, in the series Holiukan, I regarded the function of painting as a charm that had the magical ability to actualize dreams, creating scenes by appropriating elements from landscape painting. Landscapes are the utopia and lands of spiritual liberation for which I long in this hectic age. I used images from manga as the initial creative basis, because in addition to providing me with unlimited room for imagination when I was little, manga is a vocabulary of the times. Through the combination of landscapes and manga, and because I do not make preliminary sketches, when a piece is finished, it often has unexpected results, prompting me to explore the visual and subconscious meanings. The Holiukan to Paris series was based on my experiences in Paris as an exchange student; the impacts I received from living in a foreign land caused me to reflect on my culture.
Finally, during the creative process, I analyze the tension and movement potential emerging from the composition of the pieces in the series Wandering and Observing Within Simulated Forms and my use of leaving some spaces white and densely filling in others. I experimented with the effects of ink on different types of paper and the transformation and development of amalgamating techniques. Through the method of presentation, I attempted to enable form and theory to complement one another and bring into play the maximum effectiveness of the creative concept behind Wandering and Observing Within Simulated Forms.
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