The purpose of this study is to construct a personal style of painting that transcends the realm of rational thought, in which thought resides in the mind, in pursuit of a spiritual dialogue of the utmost truth, goodness and beauty. Paintings in this personal style transform the thoughts and ideas that exist in the subconscious mind into concrete presentations that rise above unitary space and time, bringing the creative ideas of the paintings into alignment with traditional views of nature and philosophical ways of thinking and turning them into creative elements, both abstract and concrete. In this way, Chinese Gongbi painting effects a transmission of internalized ideas with a traditional cultural significance. Through multiple space-times and the Indian mandala symbol, the meanings that lie hidden in the mind are expressed. Western and Eastern aesthetic ideologies are appropriated and transformed into individual creations, releasing the energy of artistic dedication. The goal of this creative discourse is to attain mastery of Gongbi techniques to create the first album of Gongbi mandala painting. This form of painting employs the intellectual holism and ideas of ‘form’ and ‘spirit’ in the context of the Chinese Gongbi tradition. This form of painting also employs artistic composition and formal creation, injecting personal qualities to display the vitality of the contemporary international art scene. In this way, this form of painting conveys the value of the inexhaustible vitality of life, giving praise to the continuity of a myriad of things in the cosmos. Life is the source of infinite creation, and the accompanying mental imagery is also infinite. All forms and images are born in the mind, morphing into new life, which in turn brings mind and world, inner and outer, into seamless communication. Mind and world are responsive to each other and grant each other vitality, endeavoring a new realm of artistic creation of ‘unity of heaven and humanity.
Pei Ling Liao, National Taiwan University of Arts, Taiwan
Stream: Arts - Visual Arts Practices
This paper is part of the ACAH2019 Conference Proceedings (View)
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Pei Ling Liao