Experiment in the virtual and real field of combining calligraphy with ink painting.

Ideology of combining ink painting with calligraphy is the most important principle axis in this dissertation. The line between the creation of ink painting and calligraphy is blurred at present. The words are put into the paintings, and the paintings contain the elements of the words. The steps of creation such as simulatin, representation, self-expression, abstract expression and symbolic expression is all the change of my sentiment in subconsciousness and consciousness while I am creating. The principle of common aesthetics is not involved in this dissertation. It must cause visual vertigo to combine painting and calligraphy. But, it is my original intention and sensation to express instinctively, improvisationally, immediately and naturally in my creation which is consistent with the inner nature of the fact, the phenomena of nature and humanity so that I could find the way to correspond life with nature, and catch real and primaeval spirit.

There are six chapters in this dissertation. In chapter 1, I explain the motive, purpose, content, range and method in my creation process. In chapter 2, I focus on my key concept in this dessertation – the spiritual implication of 「The Natural Mind」and description of analytical psychology theory from Carl Gustav Jung. In chapter 3, I explore the relationship between ink painting and calligraphy. It mentions the synergy of western abstract art and calligraphy, and the pictorial wild cursive. In chapter 4 and 5, I analyze and interpret one by one the developing context, creative ideas, process of experiment, characteristic of performance and my paintings according to the subjects of three series – 「Rock Gully」, 「Poems of Falling Flowers」, 「Variations of Essay On Calligraphy」. In chapter 6, I summarize what I have learned and reflected in the process of the experiement of this dissertation.