The Integration Of Symbolic Aesthetics Of Freehand Brushwork In Chinese Landscape Paintings

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Liming Liu , Sakon Phu-ngamdee


This research objectives included 1) to analyze and synthesis the symbolic aesthetics of Freehand Brushwork in Chinese Landscape Paintings, 2) to analyze and synthesis the distinctive of Chinese Landscape Paintings, and 3) to analyze and synthesis the depiction of conceptual of Freehand Brushwork in Chinese Landscape Paintings. Qualitative methodology was selected to all process in this research, including Ethnographic Delphi Futures Research (EDFR) process within experts and professionals in Chinese Painting, content analysis for analyze and synthesis all, meanwhile

As the result. 1) The Originate of Freehand Brushwork in Chinese Painting: History; Story: Contents. Demonstrated the whole of Chinese Painting history and dynamic of intelligence creation in each part of Chinese Civilization period. Progressive knowledge, techniques, processes in each era, and reconstruct all until now. Philosophy both internal and external have strong influenced to their performance, by the way, identity creation performance is the most aesthetic for each painter, each era sent this intangible heritage to contemporary artists. 2) Characteristic of Freehand Brushwork in Chinese Landscape Paintings. Explain conception of environment and free hand brush work One of the central meanings of the above three sentences are a painting, nothing more, the author's emotional expression and ambition. In other words, the subjective. The author is the supreme master of drawing and everything came out of it and returned to. 3) Relationship between Brush and Ink Language: Identity and Uniquely of Artiste’s Performance. When talking about the brush, if you don't talk about the force and skill of using ink at the same time, nor can you understand the principle that brush and ink complement each other. “The brush cannot be without the ink, and there is no brush without the ink. The ink cannot be without the brush, and there is no ink without the brush”. Therefore, the ink can only be present if the brush is present. The brush can only be present if the ink is present. Brush and ink can only work when depending on each other; otherwise, both of them will be destroyed. 4) Moxie Technique and the Construction of Traditional Chinese Painting Symbols. There is no concept of “Symbol” in ancient theory of traditional Chinese painting, however, the characteristics of “Symbol”, are clearly shown in ancient and modern classic paintings in China. Traditional Chinese painting constructs a complex symbol system with unique Moxie techniques; vivid and flexible image, stylized expression and personalized expression. Since ancient times, the different styles formed in the history of traditional Chinese painting make the symbols of traditional Chinese painting have four characteristics: generality, integration, symbolism and time-space spanning. Combined with typical Chinese painting works, this research expounds the flexible forms of symbols in the context of traditional Chinese painting, and demonstrates the value of symbols, reflected to aesthetic in the development and communication of all traditional Chinese painting.

The author analyzed and synthesized the content and summarizes all the content and sent to a panel of experts for analysis which looks like a scale estimating with 5 score ranges, The data obtained from the questionnaire were analyzed for Median values, Mode values, and Interquartile ranges values, to consider as follows Median Values of 3.5 or higher and consistent with expert opinion with a interquatile range of 1.5 or greater and a difference between Mode and Median values of 1.0.

This panel of experts was of the opinion that the possibility to the Symbolic Aesthetics Analyze and Synthesis of Freehand Brushwork in Chinese Landscape Paintings at “Strong” (Median Values ≥ 3.50) and the consistency direction all 4 topics. Finally, Moxie Technique and the Construction of Traditional Chinese Painting Symbols at “Most Strong” (Median Values ≥ 4.50), especially all 7 sub-topics.

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