Impression of Autumn － Che-Chuan Tseng's Journey and Tsai-Mo Painting

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Impression of Autumn – Che-Chuan Tseng’s Journey and Tsai-Mo Paintings The form of colors in painting fine art in China has undergone prolonged evolutions ever since the ancient era to the middle of the Tang dynasty. At the middle of Tang dynasty, with the progression of domestic social circumstances, the colors applied in painting was gradually replaced by the black and white colors of ink painting. In recent decades, ever since the introduction of western fine art, the colors applied in ink paintings had a stronger recurrence than ever. With my previous experience in learning oil painting, the colorful form of ink paintings was a strong driving force for exploration and creativity in my aesthetic career. Thanks to the careful observation and logical analysis and induction, such experimental methodology in paintings would be applied on the basis of my sketch and travel experiences. The objectives of the thesis were based on the traditional and Chinese exclusive perspectives of the universe and life. With the new elements incorporated from the western fine arts, the long existed form of traditional Chinese ink paintings could be nourished. And, most importantly, the revolutions on its inner contents could establish a brand new milestone on its history. The contents of the thesis have been described as the following. The first chapter generally covered the specific aims and motives of my research, the materials and methods adopted, the fields involved as well as the references cited. In the second paragraph, a variety of domestic plants would be categorized and discussed from the perspective of botanic science. My personal experience of traveling in the autumn times will be incorporated into the profound thoughts to produce the foundation and background of creativity. The third paragraph reviewed the masterpieces in paintings and literatures on praising the autumn scenarios by the famous painters, poets and writers in history. At the meantime, the scenes and spots in the paintings depict the autumn will be classified according to their approaches applied and information revealed. Finally, the poetic and aesthetic viewpoints exclusively in the Chinese paintings were further explained. The fourth paragraph mainly focused on my perspectives and approaches linked up to the pursuit of thoughts and creativity in my paintings. A series of scenes in maples, awns and traveling experience will be adopted and variedly expressed with different approaches in arranging the space, shape as well as the constructive infrastructure on the canvas. The fifth paragraph further showed my respect and appreciation to the masterpieces of the historically known painters with the Chinese exclusive perspectives in the universe and life as well as those related to western fine arts. I look forward to have more breakthroughs during my pursuit of aesthetic. And most important, I would also like to express my gratitude to my advisor as well as all the other instructors.