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The Line of Flight of Writing Image：Research on Contemporary Ink-Painting Art of Tsai Cheng-Han
ink painting creation
Chinese character writing
lines of flight
This thesis aims at analyzing the Chinese calligraphy creation based on the image intertextuality of ink painting. A few questions are of pivotal importance worthy of discussion. What was the true motif of the modern ink painting movement in Taiwan in the 1950’s and 1960’s? Was it motivated by political factors or by the idea “art for art’s sake”? Will the modern ink painting, which is constituted by innovative techniques and pure forms, push ink painting from “wenrenhua” (i.e., scholar painting), one of the two extremes, towards the theory of Ink Monochrome Media, another extreme? Is it possible that the calligraphy stripping of modern ink painting is actually the erroneous result due to certain misunderstandings of its own culture? With the aforementioned questions answered, in what form will the Chinese character-based modern ink painting creation conduct its exploration and experiment? Through the contextually relevant questions, this thesis was first conducted by means of literature review. With all the ambivalence clarified, this thesis also makes an endeavor to find the possible method of creation and theoretical concepts. With reference to Wén Xīn Diāo Lóng, or The Literary Mind and the Carving of Dragons, and Gilles Deleuze’s theory of Rhizome, this thesis tried to discover the “in-between” aesthetic practice of the two concepts and transcendence of the dichotomy, thereby contributing to multiple deterritorization in the terrain of ink painting creation. Hence, explication of the interdependency between idiosyncratic creation and cultural matrix became the foundation. After the re-examination of the Chinese calligraphy creation and the image intertextuality of ink painting, three major conceptions were founded: temporality of calligraphy, materiality of substance, and upwardness and construction of Montage. The Chinese calligraphy creation constituted the first temporal sequence; meanwhile, the immediate temporality continued, thus forming the second phase of the temporal sequence when readers read the image of Chinese calligraphy. The materiality of substance was then transferred to the temporality of writing, interacting with the heterogeneous substance, and accentuating the material features of ink painting. The Montage of images, words, and materials enhanced the constructive Montage image; it further retrospected to the original correlations between the creator and cultural matrix. It was via the analysis of contemporary creations of ink painting and explication of diversified perspectives and theoretical contents that the final conclusion was reached. Namely, the potential methods of individual creations, the application of writing and heterogeneous juxtaposition—all these responded to changeable and deterritorizational concepts, and thereby created artworks of both internal and external correspondence.
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