The preliminary study on contemporary Taiwanese indigenous art: visual and plastic arts as a case
| Autor: | Tseng, Chiung-Hui, 曾瓊慧 |
|---|---|
| Rok vydání: | 2013 |
| Druh dokumentu: | 學位論文 ; thesis |
| Popis: | 101 The preliminary study on contemporary Taiwan indigenous art: visual and plastic arts as a case Abstract Art is a reflection on society. The development of Taiwan indigenous art is heavily influenced by the era and state that Taiwan is in. From the Japanese colonial era to post-World War II, the Taiwan indigenous society experienced huge impacts that ceremonial rituals, religions, social customs and traditions all seemed to experience collapses. The huge changes in the material and non-material aspects of culture led to the forming of autonomous creativity that broke away from the tradition. The elderly artists, active during the era of Japanese colonial rule, experienced the gradual collapse of tradition at the time. They were the closest link to the origin of tribal art but at the same time they demonstrated the diversion from the primitive art while extending the root tradition, which generated a sense of independence and self-consciousness. Despite all these developments, the change of indigenous art from primitive to modern is considered slow. Modernism did not take place to influence the new generation until the indigenous demonstration toward the end of 1980s and the indigenous name reinstall movement in the early 1990s. During the 1990s when freedom and multiculturalism were more active, many young indigenous artisans returned to their root to do what they really enjoyed. They emphasized on the rethinking of the closed culture issues to seek new breakthrough that created new dimensions with lasting effects on the art development. This research starts from the definition of art fields, categorizing artists into three groups of elderly, middle-aged, and new generation. We look into the inspiration of their creativity, the spirituality they represent, and produce the three conclusions below: First, with the influences coming from policies, art activities, and critiques, art forum is outlined to encourage the gathering, demonstration, and interaction of fellow artists. In accumulating the vast experience of artists from various generations, modern art displays its multifaceted appearance. The development of the art environment is accumulated as the time goes by. Second, indigenous art is based on tradition, with “time” being a latent variable causing the transformation. With the pass-down and accumulation of experience from artists of various generations, and the activation of policy and activity, comes a series of creativity. From “Original spirit” to “tradition mimicking”, the trend then returns to “simplicity”. While “tradition mimicking” and “simplicity” styles are going on, “post-tradition” raises. Third, the aesthetic value from various generations display collectivism which calls for the priority of group goals over individual goals, and the environment ethics, both represent aesthetic ideal. This ideal is the combined product of the aesthetic value held by the artists, and the interaction between the aesthetic senses of local Taiwanese and indigenous tribal society. Artists use a series of methods and progresses to create what they believe is the original aesthetic ideal. Keywords: Indigenous Art, Artistic Field, Paradigm, Post-Tradition, Aesthetic Ideal |
| Databáze: | Networked Digital Library of Theses & Dissertations |
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