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This study introduces different contemporary interpretations and understandings of ink-water painters which derive from the mutual impact between foreign culture (e.g. western culture and mainland Chinese culture) and domestic culture after the ROC government has fled to Taiwan after World War II. The development of multiculture reflects a certain specific phenomenon in a period. Under continuous changes, contradictions and harmony, the internal culture and external “western tide" of Taiwanese ink-water painting has been developing. The domestic evolution is then shaped which is totally different from the arts development in China. This study advances and induces three developing directions. First, “Traditional ink-water” focuses on the traditional brush, ink and landscapes, and combines the expression of paintings. It switches the mainland Chinese culture to the native one and breaks through the brush and ink style. Then, it returns to the personal experiences. Second, “The combination of Chinese and Western culture” emphasizes on the specialty of tribal culture as the subject. It gets massive “nutrition” from western painting styles and melts it into specific aesthetic consciousness of ink-water painting, or into personal creations due to the new visual experiences generated by the technological developments. Third, “Conceptual ink-water” regards ink-water as a material or transforms it into “ink-water arts.” Contemporary multiculture focuses on the concern and the project of the individual spirit on the social reality. Under the impact of the globalization, ink-water is lost and self-positive. First, it identifies the domestic culture and accepts the different culture. Second, the value of ink-water is on the independence and creation. Third, through re-education, exhibition, and the integration of consumption and lives, ink-water is popularized. Stepping into the twenty-first century, there are bickering among political parties. The economics is declining, and hostility still exists in the cross strait relationship. We still treat the nature with consuming attitudes: severe cultivation and deforestation, excessive development, ground subsidence, costal flooding, and torrential rains, all of which have served to worsen the impact of Mother Nature’s wrath. The sturdy green old pines stand tall and straight in the gifted land, the Pine Garden, telling the hardness they have experienced in the past century, and finding the strength to carry on. This creative work, “The Inscription of Life,” is elaborated and clarified in this chaotic era. It has transformed into vigorous energy, and consoled by it never submitting to fate.
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