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 瀰力村男

學經歷

淡江大學 畢業

東方設計大學助理教授

南部展美術協會會員

高雄現代畫學會會員

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 Mi Li Tsun Nan

Experience

- Graduated from Tamkang University

- Assistant professor of Tung Fang Design Institute

- Member of Southern Fine Arts Association

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 呂榮琛

學經歷

台北文化大學美術系 畢業

國防部任命為國軍文輔藝導老師

南韓漢城聯展

擔任多家畫廊藝術顧問

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 Lu Rong-Zhen

- Established Studio at Taipei, Taiwan

- Graduated from Fine Arts Department of Chinese Culture University

- Military service, Appointment as an Art Coach, Two Champion award in Painting Competition

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 梁登豪

Experience

- Graduated from MA Fine Art department, National Kaohsiung Normal university.

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 陳文福

學經歷

教育部文藝創作獎第一名

58屆全省美展第一名

17屆南瀛獎首獎

台陽美展連續兩屆金牌獎

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 Chen Wen Fu

Experience

- Won the first place in Literary and artistic creation award of Ministry of Education at 2000.

- Won the first place in 58th National Art contest.

- Won the first place in 17th Nanying Awards.

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 邱先生

學經歷

台北文化大學美術系 畢業

國防部任命為國軍文輔藝導老師

南韓漢城聯展

擔任多家畫廊藝術顧問

→了解更多

 Mi Li Tsun Nan

Experience

- Graduated from Tamkang University

- Assistant professor of Tung Fang Design Institute

- Member of Southern Fine Arts Association

→Read more

 瀰力村男

學經歷

台北文化大學美術系 畢業

國防部任命為國軍文輔藝導老師

南韓漢城聯展

擔任多家畫廊藝術顧問

→了解更多

 Mi Li Tsun Nan

Experience

- Graduated from Tamkang University

- Assistant professor of Tung Fang Design Institute

- Member of Southern Fine Arts Association

→Read more

 Review

Brief Analysis of Mi Li Tsun Nan’s ”Ink Rhyme with Subtle Colors”---Originality with More New Meanings and Wrinkle Method with More Transformation

--- Ba- Bi-Song Gallery / Chiu Hsu Chung ---

 

There’re hundreds of creation forms for contemporary artistic creation. To the writer’s point of view, artistic creation is only divided into two categories, i.e.

1. Artistic creation with originality and 2.artistic creation with continuity. The so-called original art means ingenious art work; simply speaking, it is that any unprecedented form or technique of artistic creation may become a learning example followed and simulated by future artistic creators; for instance, Master Liu, Guo-Sung, “the Father of Contemporary Ink Painting” created wrinkle method of “plucking sinew and peeling skin”. With regard to artistic creation with continuity, it has clear patterns that artists can pursue creation modes to seek differences between the similarities and changes between the differences. Most of artists with such creations have certain mentor-disciple relationship or learn from simulation. Mi Li Tsun Nan, the artist mentioned in this article belongs to the first category-original artistic creator.

 

Brief analysis of the artist Mi Li Tsun Nan’s original ink painting creation can be divided into four types: (1) Keeping Zen with more new meanings; (2) transforming wrinkle method and drawing texture; (3) generating ink rhyme with subtle colors and (4) replacing paper with canvas for easy preservation. Now, four types are elaborated as follows:

 

(1)Keeping Zen with more new meanings

Ink painting is one form of artistic expressions in painting creation, which is a representative of Chinese traditional painting. Basically, based on the main painting mode of thick ink and heavy color, black, grey and white color are formed by water and ink as the picture structure to present colorful picture on complete art works by adding pigments, commonly called color ink painting. The application of painting brush technique is mostly wrinkle method only showed by plane technique without any touchable drawing texture like oil painting. It has been more than 2500 years for the development of Chinese ink painting, most of which stay in mentor-disciple relationship from various schools. In consequence, Master Xu Bei Hong, the former President of the Central Academy of Fine Arts used to take a dim view of Chinese ink painting in its evolution process. He said, “So far, declining Chinese painting has led to a dead end… nation in low spirits can be deemed as the same.” It can be said that any enterprise needs innovation for survival, and so the art of painting is. Only innovation can continue to bring ink painting to a new era geared to international standards.

 

However, this so-called innovation is not just going abroad to learn superficial techniques and knowledge, or making a little change. Innovation should be a process of developing ink painting in combination of thought and technique at home and abroad to invent a kind of unique form and creative methodology; nevertheless, the painting essence is not abandoned but the elements of essence must be kept to open up new visions, new techniques and new conceptions. Mi Li Tsun Nan (Wang, Chia-Nung) is a few artists of ink painting painters, who can transform ink painting media to personal style. Consequently, he created ”Ink Rhyme with Subtle Colors”, a new technique by transforming wrinkle method and drawing texture as well as generating ink rhyme with subtle colors.

 

(2)Transforming wrinkle method and drawing texture

Wrinkle method is one of techniques used to present ink painting. In the early days, painters might create an expressive form for classification according to patterns and surface structure of mountain, stone and tree with various textures; and, types of wrinkle method were named by individual shapes. The main technique of expression in ancient landscape painting is to draw the outline of form and structure with lines before coloring. The development of ink painting, veins and patterns, Yin and Yang, concave and convex as well as light and dark used to express the texture of mountain, stone and tree has gradually built up technique of wrinkling and wiping in each school, causing the achievement of “Wrinkle method”, a proper noun in the ink painting. The book “Study on the wrinkle principle in Chinese landscape painting” described that there were 16 schools for the ancients’ wrinkle principle in Chinese landscape painting; however, ink painting creations spread so far remain two-dimensional works. This is one of the important reasons why ink painting is unable to be transformed and sublimated.

 

Mi Li Tsun Nan dedicated himself in the field of ink painting for more than 30 years. Apart from skillful ink painting technique, he also specializes in the transformation of creation material. In late 2004, he created new technique of ink painting by applying simple and brief carving technique to the canvas, so as to make wrinkle method three-dimensional touchable texture and drawing texture in western painting. “Transforming wrinkle method and drawing texture” allows Mi Li Tsun Nan’s innovative style to greatly upgrade and become more multiple in the field of future ink painting.

 

(3)Generating ink rhyme with subtle colors

Sheikh, painter and art theorist in Southern and Northern Dynasties mentioned six principles in Chinese painting on the introduction of his work “Classified painting of old and new”, namely resonating the painter's energy in ones movement, using the brush with the 'bone' method, reflecting the shape of the object, suit the type and extract its colors, composition and placement and transmission by copying Ink painting is a kind of paintings for “the presentation of spirit through appearance” without stressing neither the similarity of shape nor perspective, but based on the painter’s subjective sentiment for further expression of own mood, which shows that ink painting focuses on communication of artistic conception. Western painting classified by the aforesaid six principles appeals for immersive realistic style to lay emphasis on surface texture and the perspective of picture space, so as to learn it focuses on natural science.

  

Mi Li Tsun Nan combined”the presentation of spirit through appearance” with “immersive realistic style”, applying the conception of ink diffusion to ink painting as well as impressionism and realism in western painting by injection of subtraction method in sculpture to take away basic form of thick inks and heavy colors in traditional ink painting for the increase of ink rhyme and decrease of heavy colors to subtle colors in further pursuit of the feeling “between the like and the unlikeness”, causing creation works more lasting appeal and more Zen thoughts.

 

(4)Replacing paper with canvas for easy preservation

Ink painting has big problems in the storage and preservation, such as brown stain, worm-eaten, fold on paper mounting, waterlogging, yellowing, darkening, mildew, smudginess, rust on artwork core and crease.

 

Mi Li Tsun Nan replaced paper with canvas for easy preservation. Enhancement of surface treatment on the canvas and careful modulation of pigments in creative process may protect ink painting picture from being easily damped and remain ink rhyme. The aforesaid method of “replacing paper with canvas for easy preservation” can get rid of preservation of ink painting, causing the storage way same as that of oil painting.

 

  

Opening Hours

MON ~ SAT:10 a.m. ~ 9 p.m.

Closed on Tuesday

Location

No. 111-5, Zhonghua Rd., Pingtung City,

Pingtung County 900, Taiwan (R.O.C.)

Phone

08-7376077

        

Copyright © 2019 Babisong Art Museum. All rights reserved

  

營業時間

週一 ~ 週日:10 a.m. ~ 9 p.m.

週二:公休

藝廊位置

900屏東縣屏東市

中華路111-5號

聯繫專線

08-7376077

        

Copyright © 2019 Babisong Art Museum. All rights reserved