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In this paper, three series of works: "Memory of Flowers and Grass", "Round and Short", and "Counting Trees", with a total of 15 pieces, were compiled. Based on nature sketching, the author employed the gongbi technique to express the "nostalgic feelings" in the author’s memory with symbolic objects. The author also explored the realistic view of nature painting in the Northern Song, the paintings with vernacular colors in Taiwan's "Taiwan Exhibition" during the Japanese occupation, and the vernacular realistic style in Taiwan that emerged in the 1970s. The author incorporated the above concepts of sketching into the author’s creation.
This paper is divided into five chapters. The first chapter is an introduction that explains the purpose of my research. Through the concept of vernacular realism developed by previous generations, the author hope to connect with the author’s own yearning and nostalgia for the childhood. By means of sketching and creation, the author’s spirit temporarily returns to resting, so as to relieve the pressure in life. In the second chapter, the author discusses the theoretical basis of naturalistic realism in the Northern Song, the style of vernacular realism during the Japanese rule, and the concept of vernacular realism in Taiwan. The spirit of realism in the Northern Song changed from the early "court painting" to naturalistic realism. In contrast, the "Taiwan Exhibition" of the Japanese period encouraged the creation of Taiwanese vernacular scenes with Yan Fang colors. The 1970s saw the emergence of a realistic style of Taiwanese vernacular painting, which led to a trend of cherishing the land of Taiwan that continues to this day. The third chapter explains the author’s creative philosophy, which is to draw ordinary flowers and plants that are close to my childhood life. Through the process of faithful sketching, the author extracted the elements of my hometown in the author’s mind to complete my creation. The fourth chapter introduces the three creative series, and then examines the connotations of the themes and analyzes the forms of creation in order. Chapter 5 is the conclusion, which concludes the research of this paper and outlines the direction of the author’s future research.
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