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Absorb Anciently and Assemble for Today - Aesthetic Consciousness in the Scholars’ taste
The core of this study is to “Absorb Anciently and Assemble for Today,” absorbing the ancient and incorporating into the present. The scholars’ aesthetic consciousness in the culture of middle and late periods of Ming Dynasty was studied through reading ancient book materials, exploring their works and pictures, experiencing their living, and learning the ancient’s ideas and tastes in such era. Moreover, the ancient concepts on pictures and personal style are included in my personal creation, which regards “absorbing the ancient” as a passage. The personal conceptions and zebra's picture are also added to build a reversed domain so as to demonstrate its beauty. There are seven chapters in this study. Chapter one- Introduction: It includes research motive, purpose, range, method, structure, definitions and references. With the observation of contemporary ink painting and understanding of references, the feasibility of “Ji-Gu-Tsuei-Chin” was being found. Through exploring the essence of ink painting, the importance of culture taste was discovered so as to ponder on the possibility of personal performance. Chapter Two- Taste Dissolution and Culture Description: The entity of scholars’ taste is used to outstand the problems of creating ink painting. The aesthetic relationship between scholars’ refined life and their works is also discussed. Chapter Three- The Display Domain of Ink Painting: The phenomenon, after ink painting was symbolized and coded, was observed. The purposes are to show the barriers created by ink painting display dimensions, to reflect the essence problem on ink painting reform, and to appeal the attention on the relationship between their tastes and culture. From Chapter Four to Chapter Six, after the observation of scholars’ tastes and the exploration on the essence of ink painting culture in the former three chapters, my personal intentions on creation theories are brought in and put into practice. Chapter Four- Creation Intention on “Absorb Anciently and Assemble for Today”: On the passage of absorbing the past, pictures, painting poem, culture tastes, and era reform and restriction on texts are explored. The so-called simulation relationship and intension on ink painting are also drawn attention. Chapter Five- The Origin and Interpretation of Creation: Returning to the personal creation intention and central mind, this chapter investigates personal intension and meaning on creation through observing the practice of modern scholars’ styles so as to interpret ate the aesthetic specialty of scholars’ images and casual culture on ink painting. Chapter Six, The Analysis on Pictures and Tracks: On creation topics, the three items of culture, scholars and “Ji-Gu-Tsuei-Chin” are used to demonstrate the results. On the analysis of works, the description is divided into two parts: one is by work identity, name or title, inscriptions, seal etc., the other is by the thought, the origins and image description of creation works. Chapter Seven- Conclusion: The attention on scholars’ images and concern of topics is the characteristic of my personal works. While observing the culture and taste of ink painting, it is very important to reclaim that ink painting consciousness and aesthetics behaviors are indispensable for annotating cultural implications on ink painting.
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