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I present my thesis first on the basis of constructing and accumulating ideas, and then try to narrate the phenomena. The main thought in context here is the difference produced by the coincidence of events, while this divergency is also the major factors of being. I distribute this treatise into the following chapters: 1. Configuration and Displacement: Under the title of the autonomy of landscape paintings, this chapter aims to show the problems of the phenomena in itself. For the first part, I am going to discuss the imagery of Wang-Wei in landscape paintings in Sung Dynasty. I consult the attributed Wang-Wei’s works and documents to examine the changes of his style and his meditative ways of seeing. According to his nature of poesy and of being a man of letters, what is the appearance or the motif of the works of this “expelled and dejected” artist? Concerning the second part, we know that in the early years of Ching Dynasty landscapes are presented “orthodox” due to the recognition of its autonomy. The orthodoxy here centers on the achievements of the four Wangs, and it can be traced up to Tung Chi-Chang, the four masters of Yuan Dynasty, and even to Wang-Wei. The cultivation and nostalgia of literati doctrine is thus justified. However, we may have doubts where the part of the “self” is. I am not eager to tell its right and wrong; on the contrary I want to put the point in question back to its origin. I find that Wang Yuan-Chi is not always indulged in nostalgia; in fact he wants to begin from the achievements and merits of predecessors and then expend his own philosophy of art. Regarding Shih-Tao’s art, he emphasizes the perception of the artist first, that is, the cultivation. And his presentation is based on this understanding. On the other hand, the followers of the orthodoxy set up beforehand the standard principles of seeing, and this instead degrades the real orthodox artists. 2. Transposition of simulation: This chapter will focus on the artwork itself. The first part starts from the disclosure of things. We adopt the approach like phenomenalism and try to restore the things to its origin. This possibility is more than that extends from the post phenomena. We notice the term “origin” after the restoration. Besides, by opinions of artwork of Martin Heidegger and Laotzu, that when things are submitted uncovered like this, they are closer to the truth and real art. Therefore returning to origin of things not only clarify its meaning but extend its circumstances. As to the second part, we aim at the virtual nature of simulation, its veiled truth and artificial actions and even its being replaced by a sign; however, it also serve as a vehicle for us to touch the origin of things. The third part concerns with the habit of virtualization. When we get used to virtual reality, I wonder the distance between the so-called reality, images (in works) and the text. I will explain this by demonstration of Magritte’s works. 3. Illustration: I exclude the general writing form, explaining the composition, spatial relationships and the use of materials. Instead I go direct to its origin. First, I explore the involvement of perception. I refer to Maurice Merleau-Ponty‘s visible and invisible perception and return the objects to the theme of zebras. I conceive its identification and take its nature into account to spread out various directions of my painting. Sometimes I compare with horses in ancient paintings and show their dissimilarities, and I attribute this to what Jacques Derrida have said the situation of “difference.” That is, to accept the transition of history and to present the myth of this change. The second part relates to narration and declaration of my works. It consists of two themes. The first one is why zebras and the other is about the absence of the figure of zebras. As to the interpretation of works, each has two parts: the origin, that is its thoughts and reasons as an artwork and second, the description of the picture in brief, also the real circumstances of its thought. This is for me a self-examination and expectation.
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