The creation and research of Abstractness vs. Concreteness and'unreal light and real shade 'by Color-Ink landscape Paintings

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This research intends to examine the application of light and darkness on color ink landscape painting and how the tangible and the intangible are performed through the arrangement of light and shade in paintings. In landscape paintings, distance, space, depth, and layers of physical scenery must be performed lively by means of well-managed light and shade. It is expected that with aesthetics theory and creation practice, the application of light and shade on color ink landscape painting can achieve a higher level. The first chapter, introduction, includes research purpose, research method and structure, field and limitation. Deep analysis and comparison of Chinese and the Western art works and art history are conducted on the basis of preceding studies to indicate direction of this study’s development. Traditional Chinese theoretic perspectives toward light and shade, including the origin of this art form, limitation on application, differences between Yin and Yang, and the usage of colors, are examined in the second chapter. Comparison of color management in paintings between Chinese and the Western and analysis of contemporary artists are conducted to suggest the application and integration of Western painting techniques to Chinese landscape paintings and how three-dimensional scenery can be performed on a flat material such as cloth or paper. Then theme of creation and creation practice are presented. In the creation practice section, the author combines and integrates the significance of forms, colors and light and tries to indicate visual flow of the picture. The presentation of “ real” and “unreal” through arrangement of light and shade and how different materials present light and shade is discussed. Chapter four focuses on creation analysis and interpretation. Seven pieces of creations by the author are examined and analyzed from the perspectives of theme, theory, content and form, material and techniques and overall presentation. Conclusion is the final part. It is the author’s own expectation to combine the essence of art from both Chinese and the West to create author’s own unique art style. Light reflection and shade are three main elements of author’s creations. It is found that high light, which is the key to drawing watchers’ attention, is particularly stressed in the Western landscape painting. As light flashes alternatively, the tangible/ physical objects and intangible atmosphere and feelings are performed vividly and lively. Blend of sketch techniques with shining colors, like golden and silver, is applied by the author to perform high light and light reflection, and overall presentation becomes more vivid. For the research aspect, the rich material in both Chinese and the West art history and culture prepares the author for the establishment of new creation style and better management of space arrangement and material application. Literature review and creation analysis lead to the awareness of the fact that deeper research and understanding of tradition is vital to better application flight and darkness on color ink scenic painting. It is deeply perceived that the very basic techniques such as sketch are essential to the development of capability to perceiving the beauty and the mind of the nature because the essence of the mother nature cannot be caught and perceived simply through one or two shots. With refined skills and techniques, better and deeper observation of the nature, and innovative painting materials, art creation is expected to achieve a higher level and build the linkage between the old and the new.