“射日傳說”

“射日傳說”

“Legend of the Suns”

By

Batbileg Lkhagvasuren

國立臺中教育大學 美術學系 碩士論文 A Thesis

Submitted in Partial Fulfillment of the Requirements

For the Degree of Master of Art of

The College of Humanities

The National Taichung University of Education

January, 2015

Thesis Supervisor: Chuang, Min- Chung, Ph.D.

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“

射

日

傳

說

”

學生：Batbileg Lkhagvasuren 指導教授：莊明中 國立臺中教育大學美術學系碩士班 摘 要 本研究為“射日傳說”其中包括 6 畫作品。前 3 系列畫作品是根據蒙古的傳說， 描述了蒙古騎士。而另有 3 系列也描述了台灣傳說中的 3 個英雄。本人希望藉由這 些 6 畫作品中可以看得出來兩國各自的傳統和文化。各種畫作品有它們自己的獨特 性，多元性和特殊性。 這些 6 畫作品是一套的，根據兩國的傳統和文化。因此，也希望這部作品描述了兩 國民族的服飾文化和傳統的風格。 關鍵字：魔幻寫實主義、幻象、神話

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Abstract

Student: Batbileg Lkhagvasuren Thesis Supervisor: Chuang, Min- Chung, Ph.D.

The present work is entitled as “Legend of the sun” which consists of 6 paintings, first 3 series paintings described Mongolian knights who fought against the sun according to Mongolian legend about the sun, and another 3 described Taiwanese knights who fought against the sun in a Taiwanese legend about the sun. It is hoped that these 6 paintings have their own unique, diversity and specific characteristics. However these paintings are created as a complex work. Any countries’s culture and tradition is appeared in way their dressing and their items and accessories. So, it is also hoped that this work described two countries dressing culture and traditional style.

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Acknowledgements

First of all, I would like to express my appreciation and gratitude towards my advisor Dr.Chuang, Min-Chung and, Dr.Chen, Hwai-En

who made this thesis possible, for his guidance during my study in National Taichung University. This work would not have been possible unless great support of you.

I would like to gratefully acknowledge the enthusiastic teachers in Department of Fine art, Professors for their teaching and motivation.

I dedicate my thesis to my parents and my brothers and older sisters for their encouragement, understanding and endless patience.

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Table of Contents

Abstract………...…

I

Acknowledgements………..……...

II

Table of Contents………..…

III

List of Figures………...…...

IV

CHAPTER 1 INTRODUCTION………....

1

1.1 Motivation………...……...

1

1.2 Significance of the study………...………..

2

1.3 Organization of the study……….….…….

2

CHAPTER 2 LITERATURE REVIEW……….………

3

2.1 Brief review of magical realism…………..………...……

3

2.2 Art works based on myths in 20

th

century……….

4

CHAPTER 3 INTRODUCTION OF THE WRITER…………...

11

3.1 Painting career……….………….…..

11

3.2 New experience in Taiwan……….

11

CHAPTER 4 LEGENDS OF THE SUN……….………

12

4.1 Legend of the “Erkhii Mergen” (Mongolia) ……….……….

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4.2 Story of the sun (Taiwan)……….……...

13

4.3 Legend of the ten sun (China)………

13

CHAPTER 5 PRESENT WORKS………...

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5.1 Description of the characters……….………

14

5.2 Description and emotion of the characters……….………

14

5.3 Color-score and setting of the paintings……….……….…

5.4 The previous experience of my works about the horse………

15

15

CHAPTER 6 CONCLUSION………... 36

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List of Figures

1. Figure 1.“Imagine in Imagination”…….………...5

2. Figure 2.“The moon wonderland”…….………6

3. Figure 3.“Harmania”.……….……….………...6

4. Figure 4.”Exile”..……….…..…...………..7

5. Figure 5.”Eternity” ………..…....………..7

6. Figure 6. “Aquaruis”………..……...7

7. Figure 7. “The city is landing”………..…...………..8

8. Figure 8. “The express delivery”……….…………..…...…………..8

9. Figure 9. “The walking lesson”……….…….………9

10. Figure 10.“Silent street”.………...………...10

11. Figure 11.“Starry night”.………...10

12. Figure12.“Autumn” ………...10

13. Figure13.”The horseman’’ ……...………..…...15

14. Figure 14.”The Story of warrior princess’’ ...…..………...16

15. Figure 15.”The Legend of the Sun’’………...……...17

16. Figure 16.’’The Legend of the Sun’’ ………...…..……...18

17. Figure 17.’’The Legend of the Sun’’...………...…..…………19

18. Figure 18.”The Legend of the Sun’’……….………20

19. Figure 19.’’The Legend of the Sun’’.………..…...…………..21

20. Figure 20.’’The Legend of the Sun’’...…...………..…....22

21. Figure 21.’’The eyes of mind’’ ……….………. ……….23

22. Figure 22.’’The woman with Golden hair’’……...…...………..23

23. Figure 23.’’The Legend of Khuhuu Namjil’’ ...….…..…...24

24. Figure 24.’’The farewell’’.…..……..……….…..……...25

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26. Figure 26.‘’The God of Death’’…..……….………..…...27

27. Figure 27.’’The story of Wise son’’ ……….28

28. Figure 28 ‘’The story of Wise son’’ ……….29

29. Figure 29.’’The story of Wise son’’………..30

30. Figure 30.’’The story of Wise son’’………..30

31. Figure 31.’’The story of Wise son’’………..……31

32. Figure 32.’’The story of Wise son’’………..31

33. Figure 33.’’The story of Wise son’’……….…….32

34. Figure 34.’’The story of Wise son’’………..…………32

35. Figure 35.’’The story of Wise son’’………..33

36. Figure 36.’’The story of Wise son’’………..33

37. Figure 37.’’The story of Wise son’’.……….34

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CHAPTER 1

INTRODUCTION

1.1 Motivation

21st century is entitled as technological era which has massive impact on human life and environment. A certain culture can easily spread all over the nations throughout social network and harm to other small nations’ unique culture and unrepeated traditional heritages. What if there is no difference between all nations in the world? What if the earth is painted by only one color? If so, there would be nothing interesting and nothing eager to know about something special and new. As such, all the nations must keep their cultural and traditional heritages which make them different and special than others. Therefore, old generation should explain the significance of the certain nations’ history and culture to the next generation. One of the most significant cultural heritages is myths.

A myth is a sacred narrative about the origins of the world and the things in the world, and therefore an integral part of a culture. A myth is believed to be true by the people (culture) from which it came because religious or spiritual significance is attached to it. But strictly speaking, a myth is simply the academic term used to describe the sacred narratives of a given culture. In academic circles, a myth is not to be confused with a legend or folktale. A myth is a story that has significance to a culture (or species), a story that addresses fundamental and difficult questions that human beings ask: who and what am I, where did I come from, why am I here, how should I live, what is the right thing to do, what is the universe, how did it all begin? Myths are stories that are peopled by great men and women; by forces of good and evil; by animals, large and small; by trees, the sea and the wind; and by giants, gods and other supernatural beings. Greek and Roman mythology comes to mind, Zeus/Jupiter the top-god, a bit of a womanizer he. Norse mythology comes to mind, with its stories of a powerful Thunder god named Thor and a trickster named Loki. German mythology comes to mind, with its Twilight of the Gods, its Gotterdammerung, where the gods destroy the entire universe, only to begin anew in a thousand years or so. Every culture’s pantheon of mythic characters was the super-family that every man and woman of that culture was born into; these creatures were as familiar as their parents and grandparents, their siblings, and their aunts and uncles and cousins.

Mongolia is the one of the longest history countries in the world. Therefore, thousands of myths and legends are spoken by Mongolians generation to generation. This

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work is done for the purpose of introducing one of the most common myths that is entitled as “The legend of the sun” through my painting.

1.2. Significance of the study

This work is significant for several reasons. First, it will introduce a type of paintings for mythical creatures. Secondly, it is hoped that this work will give an understanding of Mongolian mythical philosophy through this work. Thirdly, this work will give an opportunity to compare Mongolian mythical creatures with other nations’ ones.

Moreover the study will help in the understanding of the importance of myths and legends.

1.3. Organization of the study

Chapter 2 gives a description and review of literature. Chapter 3 develops the data collection, sample size and methodology for this research. Chapter 4 presents the results obtained from the methodology. Finally, the discussion of the results and conclusion for future research are stated in Chapter 5.

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CHAPTER 2

LITERATURE REVIEW

2.1. Brief review of Magical realism

Magical Realism to me is the world's view of literature and art combined. It has a vast amount of characteristics that most, if not all, Magical realist fiction shares. Magical Realism has a lot of content to be studied in order to fully understand it. The term magical realism was first introduced by Franz Roh in 1925. He was a German art critic who started the idea of magical realism when he saw a new direction in painting. He used the term to characterize his paintings. Franz Roh states, "We look on it with new eyes". ("Magical Realism: History and Theory." 123HelpMe.com, 2014) To me, this statement is saying that we look on the world with a different approach. There is magical realism in everything we do. Literature and art are two main topics magical realism occurs in often. If studied thoroughly, we realize that there is magical realism in our lives every day. Many articles have the main definition of magical realism stated in them. These articles are by Franz Roh, Angel Flores, Luis Leal, Amaryll Chanady, and Scott Simpkins.

One of my favorite texts that we read was the article by Luis Leal. Leal states, that magical realism is to express emotions, not to evoke them. Leal disagrees with many authors. Leal says that he does not believe magical realism was started by Borges in 1935. ("Magical Realism: History and Theory." 123HelpMe.com, 2014) There are many added characteristics of magical realism. Some of these characteristics are to express emotions, don’t use dream motifs, innocence has no logical or physiological explanation, and feelings are unexplainable. Magical Realism differs from fantasy because it is set in a normal world with descriptions of humans and society. Luis Leal states, "Strange how people are under the impression that making a bed is exactly the same as making bed, that to shake hands is always the same as shaking hands, that opening a can of sardines is to open the same can of sardines”.

In Franz Roh's discusses many characteristics of magical realism in paintings. "Both kinds of miniaturist paintings, the one that reconciles is to the world and the one that tries to horrify us" The way I view the world through art is a big characteristic to magical realism myself. ("Magical Realism: History and Theory." 123HelpMe.com, 2014) To me you have to look at the world at certain angels to get the real definition of magical realism. Reality is also viewed with a touch of non-reality. Reality and fantasy are combined not through weaknesses but through strengths. Issues in Flores' article on writing are literary criticism. Stylistic trends,

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naturalistic, Characters accept non-reality as being completely normal. Each story in magical realism has its own personality. The purpose of magical realism is to let the world know that there are different views of art and literature. Not everyone has the same view, so the world needs to combine all views and understand each others' opinion. ("Magical Realism: History and Theory." 123HelpMe.com,2014)

" Cling to reality as if to prevent literature from getting in the way, as if to prevent myth from flying off, as in fairy tales to supernatural realms".It never appeared to me that practitioners pay more attention to reality and not so much on literature. Leal defines magical realism as an "attitude toward reality" that contains "the discovery of mysterious relations between man and his circumstances" ("Magical Realism: History and Theory." 123HelpMe.com, 2014)

The text by Amaryll Chanady has a quote that says, "Everyone's reason is everyone's things". ("Magical Realism: History and Theory." 123HelpMe.com, 2014) This brought a lot of confusion upon myself however I did learn a lot from this text. It discussed many good points about the definition of magical realism. Some of these were, "fantasy, the supreme faculty" and "constant inspiration" of the new race to the "rule, norm and tyranny" of the age of reason . Leal states that magical realism, which he calls an "attitude," problematizes What Niklas Luhmann calls the "functionally differentiated society". Critics have many disagreements on the definition of magical realism, and I feel that some of the articles that were read were just a constant battle between who was right and who was wrong. Many critics' arguments were about whether or not magical realism is in art and literature.

This course has helped me out tremendously already. It has a lot of basic information everyone needs to know about magical realism and the reason we have magical realism. When first seeing the word magical realism, my thoughts were that it would not interest me. After learning the information, the theory, and the history on it, it has helped me out tremendously.

2.2 Art works based on myths 20th century

For over couple of decades, painters from many countries have created art works based on myths which inspires present work. According to art terminology, those painters are referred as magical, visioner surrealist or magical realist. “Visionery Art Exhibition” January 2009, Otto Rapp started a Private Network of Visionary Artists on the Ning Platform with a handful of friends. Since then, the Membership has steadily grown and includes some of the very best Visionary Artists in the Universe. Many of these artists had been friends for decades others are new to the fold. Represented here is a selection of art from well over 10.000 works

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submitted so far.("Magical Realism: History and Theory." 123HelpMe.com. 2014)

Otto Rapp is born in 1944 in Felixdorf, Lower Austria, Otto lived and was educated in Vienna, As a Painter he was initially self taught, studying in the various Galleries and Museums. In Vienna, Otto was often ‘hanging out’ at the Akademie der Bildenden Kuenste, where he admired the work of the Wiener Schule des Phantastischen Realismus represented there by the Professors Ernst Fuchs, Rudolf Hausner and Arik Brauer. In Stockholm, Otto found out that he was washing dishes in the very same Restaurant where years earlier another Viennese Artist, Fritz Hundertwasser , the ‘Austrian Gaudi’ as he was later known as, had worked the same job. Encouraged by an art dealer in Gamla Stan,

Otto began to paint more seriously. Busking on the streets of Gamla Stan with a Dutch artist, his very first painting was sold to a passer-by by his artist friend while Otto stood in the employment office line - this paid for a lavish meal for both of them that day. Working for the Canadian Pacific Railway, he quit in 1977 to attend the Bachelor of Fine Arts Program at the University of Lethbridge, graduating (with great distinction) in 1982.

In Canada, Otto participated in many exhibitions, and held several Solo Shows, culminating in the pivotal 1994 showing at The Prairie Art Gallery in Grande Prairie, Alberta, which earned him the moniker The Mystic .(Figure1)

Fig.1, Otto Rapp ‘’Imagine in Imagination’’

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One of those painters is Martin Tomek Setowski is known worldwide as one of the most prominent representatives of the style called "Magical Realism". Fairytale Characters, Underwater Worlds, Sky Cities, Beautiful Women, manifestations of his dreams form deep symbolism of Magical Realism. Tomek began his artistic career after having graduated from the Faculty of Fine Arts in Czestochowa, Poland in 1989. Tomek Setowski was born in 1961 in Poland, where he is still residing and where his main gallery called Museum of imagination is located.Tomasz Setowski In 1995 his paintings were included in a road show exhibition called "Polish Surrealists" which presented the best artists taking their ideas from this surrealism trend. Thanks to this event, Setowski was acclaimed one of the most original and gifted painters, who managed to create his own unique and recognizable style. His art aroused interest of the best Polish galleries, as well as foreign international art experts - exhibitions in France, Germany and Switzerland were very successful.(Figure2, Figure3)

Fig.2, Tomek Setowski ‘’Moon wonderland” Medium:Oil,Canvas, Size:(60cm x 100cm)

Fig.3, Tomek Setowski‘’Harmania” Medium:Oil,Canvas, Size:(950cm x 100cm)

Another one of the biggest representatives of this painting style is Tomasz Alen Kopera was born in Kozuchow, Poland in 1976. He attended the University of Technology in

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Wroclaw, where he gained a degree in Engineering. Tomasz paints in oil on canvas. Human nature and the mysteries of the Universe are his inspiration. Each painting motivates thought, challenging our initial response. Sometimes darkness will prevail, at other times, light. He is celebrated in visionary art circles for his acute attention to detail, mastery of color and bold use of subject matter.Here are some of his works are shown below (Figure 4, Figure 5, Figure 6)

Fig.4, Tomasz Alen Kopera ‘’Exile’’ Fig.5, Tomasz Alen Kopera ‘’Eternity’’

Medium:Oil,Canvas, Size:(28cm x 36cm) Medium:Oil, Canvas, Size:(102cm x 102cm)

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Painter, Jacek Yerka was born in a small city in Northern Poland in the early 1950s. His developing years were spent playing amidst the wonderfully preserved architecture of medieval Europe, as his hometown was spared much of the bombing that beset Poland during the war. It is this environment of reddish brown brickwork that immediately calls to mind the works of Bosch and Brueghel, whose palette Yerka shares. Yerka studied art at University, before rebelling against the trend to paint with less attention to realism and detail. Instead, he found his education studying the works of the Northern European masters like the Van Eycks, Dierck Bouts, Robert Campin, Bosch, and surrealists such as Magritte. His works are introduced below. (Figure. 7, Figure. 8, Figure 9)

Fig.7, Jacek Yerka ’’The city is landing’’Medium:Oil, Canvas. Size: (54cm x 62cm)

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Fig.9, Jacek Yerka ‘’The walking Lesson’’, Medium:Oil, Canvas,Size:(54cm x 62cm)

Artist Andrew Ferez transports us into the deepest recesses of our mind, showing us impossible worlds that are both scary yet surprisingly familiar or enticing. There’s also a palpable atmosphere in his work that’s both haunting and unsettling. Andrew Ferez, born and raised in Russia is an artist who inherited his creativity and interest in the arts early on

and trained his artistic skills and knowledge ever since, in a never-ending process. Andrew’s genre is a mix between macabre and horror with a poetic hint. His illustrations transport us into the deepest recesses of our mind, showing us impossible worlds that are both scary yet surprisingly familiar or enticing. Most of his artworks are two dimensional but in some of his latest artworks he used the help of some 3D software as well. Many of his illustrations are already book covers and if you’re familiar with Russian language you can follow his work in progress at his blog, where he share’s many of his artistic skills and knowledge (Figure.10, Figure.11, Figure12).

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Fig.11, Andrew Ferez ‘’Starry night’’ Fig.10, Andrew Ferez 10 ‘’Silent Street’

Medium:Digital Art, Illustration Medium:Digital Art, Illustration

Fig.12, Andrew Ferez’’Autumn’’,

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CHAPTER 3

BRIEF INTRODUCTION OF THE

AUTHOR

3.1. Painting career

My name is Batbileg Lkagvasuren I was born in Mongolia. I’m 25 years old. I graduated from highschool in my hometown then I went to Mongolian State University of Art and Culture that I studied for 4 years then I graduated from my University with bachelor degree in major of Production designer of the Film and Theatre design. My professional painting career has begun since that time. Mongolia have long time story that Mongolian painting direction in old time was a traditional painting methods and home school has been there and that all of type and direction was depend on the culture of Buddhism. Lastly, New painting experience has came from Russian school that called ‘’Academia of Repin’’ and ‘’Academia of Surikow’’. Truth is told that many students who studied over there and back to own country then Russian realistic painting methods got to influence to Mongolian new painting method.

3.2. New experience in Taiwan

I came to Taiwan to learn new experience and to take my master degree of Fine Art. I think it is a very big chance for me. Moreover, Taiwan is my first foreign country that I live. I am so appreciate to study at NTCU and learn a lot from my professors and professional painters. Another thing is that Taiwanese art is closer to European and Chinese art and culture than Mongolia. While I have been in Taiwan, I had chance to see the several big exhibitions and art Bienallies that are organized in Taipei and Taichung city. Actually, I got lots of passion and encouragement of my career ever in my life before. Participating Asian Art Bienallies or International Art competitions was my dream. It’s one of big thing that changed my mind.

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CHAPTER 4

LEGENDS OF THE SUN IN DIFFERENT

COUNTRIES

4.1.

‘’The Legend of the Erkhii Mergen’’(Mongolian version)

Once upon a time there were seven suns up in the sky and a terrible draught made the soil redden and crack. The rivers dried up, the plants and the trees withered. The people suffered from the heat and the animals were dying. All this seemed to be inevitable. But in one region there lived and handsome archer called Erkhii mergen who shot at what he saw and hit what he had shot. Many people and animals came to him and begged him: "Please shoot the seven suns in the sky and destroy them."

The archer Erkhii mergen was very conceited about his accuracy and thought himself as brave, strong and proud man. So he took an oath: "If I can't shoot the seven suns with seven arrows, I will cut off my thumbs and no longer be a man. I will no longer drink clear water, eat the dry grass from the last year and continue my life as a marmot living in a dark hole beneath the earth." From the east he shot at the seven suns moving high up in the sky one after another from the east to the west. After he had shot the sixth sun, he aimed carefully at the seventh. But just then a swallow came flying along and concealed the sun. When the arrow got released from Erkhii mergen's bow, it didn't hit the sun but the swallow's tail. That's why the swallow has a forked tail. The last sun was afraid of Erkhii mergen and hurried to hide behind the mountains in the west. Erkhii mergen thought: "The swallow obstructed my view." And so he took his piebald horse and set out to chase the swallow and kill it. His horse swore: "I will chase the swallow from dusk to dusk. If I haven't caught up with the swallow by then, cut off my legs and throw them away. Then I will be no longer a horse but live in an uneven and rough place.“But as fast as the horse did run, the swallow was always just out of reach and boldly flew around their heads. Finally dusk came upon them and the horse hadn't been able to catch up with the swallow. Erkhii mergen got very angry and cut off the two front legs of his piebald horse. Since then it lives in an uneven and rough place and has become a Mongolian jumping mouse whose frontlegs are short, too. It is told, that the

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swallow is still mocking riders saying: "Catch me if you can!" when at dusk she is flying in circles around rider's heads.

4.2 Story of the sun (Taiwanese version)

The story is to describe the ancient times, "the sky no stars and no moon, only a golden sun." One day, the golden sun was just setting, a silver sun suddenly jump to the sky. Since then, no more night came. So a bunch of problems caused by natural disasters, in order to save the common people, who elected Aboriginal clan wisest spanner Wan Yong, with the prime of his son Wadan, also carrying just weaning grandson Walis to shoot day. They west toward the sun goes down, take the good years, Walis grow into strong warriors, the sun finally found a place to live, find a silver sun bed, took the opportunity to shoot Walis Bank of the sun's eyes, "silver blood sprayed from between his fingers, sprinkle the sky, the stars have become a little bit" to see the silver sun fell into the ravine where the injured, but also afraid of hide, so the earth into darkness, the last witch lead us sing together, dance, and only then to call out the sun, the sun also the silver after the injury healed, came out into the moon at night ventilation. Bawan's son is Wadan. Bawan's grandson's is Walisthey gonna be there west to kill silver sun. After a few years later Bawan was already died and Wadan became older and Walis has become a sniper found the silver sun to kill him.

4.3 Legend of the ten sun (Chinese version)

Ten suns bring to light to the earth, each day one sun is traveled from east to west that whole the earth. The suns enjoyed together, One day the ten suns decided to travel together, traveled across the sky that very happy together. The people on earth very hot that plants and trees died also whole the water began to dry up. The peoples tell to the emperor that about stop to ten suns’ enjoying travel. The emperor ask them again to suns that stop traveling together, ten suns did not listen to the Emperor. Finally he decided to send his most brave archer to talk to the ten suns. Archer asked to them to stop traveling together, they didn’t listen to him that he go to suns, continued to walk closer and closer, And the suns fight to him by sunshine of them that he protect by his shield. Meanwhile that sun’s sunshine back to them, finally suns understood that how hot was there. Archer said to them traveling the world one by one that suns began break to inter pieces that tiny pieces free themselves to cross in the

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CHAPTER 5

PRESENT WORKS

The present work is entitled as “Legend of the sun” which consists of 6 paintings, first 3 series paintings describes Mongolian knights who fight against the sun in a Mongolian legend about the sun, and another 3 describes Taiwanese knights who fight against the sun in a Taiwanese legend about the sun. It is hoped that these 6 paintings have their own unique, diversity and specific characteristics. However these paintings are created as a complex work. Any nation’s culture and tradition is appeared in way their dressing and their items and accessories. So, it is also hoped that this work describes two nations’ dressing culture and traditional style.

5.1 The characters in the paintings

1. The archer or the knight 2. The horse

3. The golden swallow 4. The suns

5.2 Description and emotion of the characters

Mongolian knight or archer’s dressing and accessories are painted based on research and belong to ancient Mongolians in XIII-XIY century. About the horse, ancient Mongolians decorate their horses like how it is seen in this work. It can be seen from the knight’s appearance, he is likely to burn by fighting against rays of the sun. The knight’s brave heart and the horse’s honest sincerity can be seen from the paintings. In addition, these painting also shown that Mongolians history and victory is much associated with Mongol horses. It is described that the knight’s opera-cloak is made by magical material and becoming torn by the sun heating in this painting.

Taiwanese knight’s dressing and accessories are painted based on what I searched and found about Taiwanese tradition and culture. The knight is described very brave and heroic and wear his traditional clothes. It is described that the knight’s opera-cloak is as magical as Mongolian knight’s cloak and becoming torn by the sun heating in the painting.

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painting. Like nomadic Mongolians worship horses, Taiwanese people who live in the Island consider a boat as an important thing.

The suns which are opposite character are described as the background of the painting. Yet, the rays of the suns are described more specific. From my point of view, the characters of the two sides which are the knight with a horse and many suns shouldn’t be equally described.

But the suns can be described more throughout the knights’ though face, emotion and movement in this work.

5.3 Color-score and setting of the paintings

Burning skin and vessels of the main characters (the knight and horse) express brave heart and undefeatable attitude of the knight and loyalty and dedication of the Mongolian horse.

5.4 The previous experience of my works about the horse

Fig.13, Batbileg.Lk ’’The Horseman’’ Medium: Oil, Canvas

Size: 40P (100cm x 72cm)

This work describes Mongolian horseman who staying with their horses at the slope of big Mountain. In the painting that the nature has described as end of the autumn also the horseman wear their a traditional clothes (Deel) made by the sheepskin. At this moment the two horseman are taking rest and hold their tool which use to catch their horses, and their horses are staying to behind of them. This description is one of the traditional life style in Mongolian also the relationship of people with their horse who live in country side. Finally, I tried to describe about the difference nomadic life’s style in my country.

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Fig.14, Batbileg.Lk ’’The story of Warrior Princess’’

Medium: Poster colour, Paper, (210mm x 297mm) (Illustration)

This work describes the Warrior Princess, This is one of the Mongolian ancient stories. This story book described about a beautiful princess who has a ability of fight. The story book is consisted about 100 pages and used almost 360 illustration for it. Actually, it’s about Mongolian Ancestor’s life and their honesty true story which fought to Enemy for their young generation. This story book is easy to understand for children because the all of stories are explained by illustration that showed to the meaning of story also with the text. Therefore, I tried to describe by this illustration that Mongolian ancient Culture of costume design and I want to show to young people.

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Fig.15, Batbileg.Lk’’The Legend of the Sun’’ Medium: Oil, Canvas (Mongolian)

Size: 60F (130cm x 97cm)

This work describes Mongolian Archer who fighting against terrible suns, and his horse, and the golden swallow. At this moment the Archer is holding his bow and shooting sun shines of the sun. The expression of Archer and his horse look so passionate which makes audiences more energetic feeling. It is tried to show whimsical character to roles of this work which can be seen from horse’s body and some of the part of this work. It is also tried to show the dynamic atmosphere at the background that described by fog and clouds.

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Fig.16 , Batbileg.Lk ’’The Legend of the Sun’ ’Medium: Oil, Canvas (Mongolian)

Size: 60F (130cm x 97cm)

This work is one of the series that describes the Archer who fight against the suns, and his horse, and the golden swallow. The blue color was chosen to describe details on horse’s skin, Archer’s armor and the helmet with mask those all materials that I tried to show difference materials that all of things of this work. Archer’s expression is described as passionate and valorous character. The suns are described at the background that the terrible sunshine coming from background though that’s makes the communication of describes the conflict more dynamic.

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Fig.17, Batbileg.Lk ’’The Legend of the Sun’’ Medium: Oil, Canvas (Mongolian)

Size: 60F (130cm x 97cm)

In this work, the Archer who fights against the terrible suns, his horse, and the golden swallow are described. It is decided to choose a bit darker color to express whimsical characters that combines with the elegant armor and helmet of the main roles which are the Archer and his horse. Green color is also chosen to describe different character. It can be seen that the suns are described at the background and the sunshine’s movement is difference than other works.

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Fig.18, Batbileg.Lk ’’The Legend of the Sun’’ Medium: Oil, Canvas (Taiwanese)

Size: 60F (130cm x 97cm)

This work describes the Taiwanese Archer who fights against the terrible suns. Taiwanese special bird called Blue Magpie and boat are described as well. At this moment the Archer is shooting terrible sun. Yellow color dominates to describe sunshine in this work. The suns are described at the background. The terrible sunshine comes from the background that makes more dynamic expression.

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Fig.19,Batbileg.Lk ’’The Legend of the Sun’’ Medium: Oil, Canvas (Taiwanese)

Size: 60F (130cm x 97cm)

In this work, the archer’s dressing and accessories are painted based on what I searched and found about Taiwanese tradition and culture. The archer is described very brave and heroic and wear his traditional clothes. In addition, a boat which is regarded as a symbol of Taiwan is described in the painting. It is considered that Taiwanese people who live in the Island take a boat as an important thing.

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Fig.20 , Batbileg.Lk ’’The Legend of the Sun’’ Medium: Oil, Canvas (Taiwanese)

Size: 60F (130cm x 97cm)

In this work, the archer is described very brave and heroic and wear his traditional clothes. In addition, Blue Magpie which is regarded as a very special bird in Taiwan is described in the painting. It can bees from the painting, some fire is shown around the archer and describes extremely heating. Combination of yellow and orange colors expresses the war battle between the archer and the suns.

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Fig.21, Batbileg.Lk ’’The eyes of the mind’’ Medium: Oil, Canvas

Size: 80P (145cm x 97cm)

This work describes the three eyes which mean is we have two eyes on our face to can see all of environment of our life. The beautiful mind is our prime of our life, this idea described by third eyes on this work. In this work, dominated by blue colour that represent to the expansion of the our spirit.

Fig.22, Batbileg.Lk ’’The woman with the Golden hair’’ Medium: Oil, Canvas

Size: 50P (116cm x 80cm)

This work describes the woman with golden hair. The hair style is Mongolian traditional hair style in 18th century that I tried to the composition with two colours which blue and yellow. I tried to describe the lordly character that see from her eyes and her sight.

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Fig.23 , Batbileg.Lk ’’The legend of the Khuhuu Namjil’’ Medium: Oil, Canvas

Size: 50F (116cm x 91cm)

In this work, the old musican is playing a epic by traditional instrument of Mongolia. As Musician start holding the instrument called Morin Khuur, a story called Khuhuu Namjil played. His expression seemed a little sad as the story playing is sad. In the music he expresses flying horse and a rider. My idea is composition of all these meanings, how he is feeling about sadness of the story also how the rider is flying with the horse in the music. I tried to show the flying horse in the sky by some old papers which expresses an ancient book gets alive and living in the sky.

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Fig.24, Batbileg.Lk ’’The Farewell’’ Medium: Oil, Canvas

Size: 50F (116cm x 91cm)

This work described the 13th century society. I wish to share again a story about an unfortunate destiny. We can see from this work a woman is sending off her husband to far away. The husband seemed already prepared well to any occasion and all garments and armors are on and horse is ready to waiting for him. He has been wore his traditional costume called DEEL. His expression looks very determined and a bit sad. And also his wife is with her traditional costume and some accessories on. We can see from they communication that they are on farewell to send her husband to the war! Here I express simply life and simply love. I express regular life and love, just like our life. This story is about one of my favorite legends. It’s about the best hero should get the mission once the right moment comes. Also I tried to describe the sadness moment by blowing papers and it’s expression to mind of them.

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Fig.25, Batbileg.Lk ’’The Old shaman’’ Medium: Oil, Canvas

Size: 80F (145cm x 112cm)

In this work, I described the old shaman with two angry wolves. Shaman is a man who have a secret ability can contract the ordinary people with the heaven. He must say to the ordinary people that the correct way and correct direction of life. I tried to describe two things that anger and calm. His expression seemed a little sad and calm in the work. My idea is that composition of all these meanings, be calm when you stay with the difficult environment of your life situation. When the difficult things come to your life as like the storm, the rain, the snow, you can be a big tree, if you can be like that which mean absolutely they all difficult things go back away shortly. My expression about in this idea that I tried to describe the angry wolves heads then disappearing to backround to became the plumes.

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Fig.26, Batbileg.Lk ’’The Old shaman’’ Medium: Oil, Canvas

Size: 60F (130cm x 97cm)

This work describes about a god of death from the Culture of Buddhism. This is a copy of the original painting but I tried to combine with installation that the spiritual life of human and the real life of human, What is the destiny of human? In life has many many choise and many more difficult situation, I want to tried to describe it by this installation that used by the caddis and the wooden frame, you can see that from the dynamic this installation, after this life, where can we go the paradise or the hell, so many directions so many ways there. This is one of the secret of life.

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Fig.27, Batbileg.Lk ’’The story of Wise son’’ Medium: Poster colour, Paper

210mm x 297mm , (Illustration)

In this illustration, I tried to describe the conflict with the wise son and big Monster. The described characters are that the little son with his horse and big monster also old woman with her children. The book is consist about 20 paintings which those all paintings to combine each other and that book became with the ten sheets. The colours atmosphere looks a little bit darker because I tried to describe to meaning of this story which the colour is start from the bright then became to the darker than before, eventually ending colour by the bright again. Those all the illustration have a difference character each other also about composition and characters.

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Fig.28, Batbileg.Lk ’’The story of Wise son’’ Medium: Poster colour, Paper

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Fig.29 ’’The story of Wise son’’ Medium: Poster colour, Paper, 210mm x 297mm

Long time ago, one of the wise son lived with his family. One time, he thought about him self that I have already became a big boy now, I want to go many other places and recognize them also I want to see other kinds of people. My Daddy said the world is huge and people have many kinds of characters, why don’t I get to prove my intellect and my patience to other people. My loyal horse is ready to go with me, isn’t it.

Fig.30’’The story of Wise son’’ Medium: Poster colour, Paper, 210mm x 297mm

Finally, he decided to go to other places from his motherland. During the journey, he had been so happy and funny with his horse. His horse is much faster than birds of the steppe. He usually likes to race with the birds. He has seen many many different and beautiful places and met many kinds of people from other countries. One of gray days he met an old woman with her orphaned children, he asked them what happened.

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Fig.31’’The story of Wise son’’ Medium: Poster colour, Paper, 210mm x 297mm

Excuse me, Dear old woman could I ask what happened to you? And why are you going with your children so far away without the horse? Old woman replies to him, Son, before, we had led a satisfied life together in our homeland, Unfortunately now, I’m looking for another place to live with my orphaned children. I have trouble because last month one of the Monsters came to our homeland then he got to hold up our whole ownership and every thing. Moreover, he killed all the people who fight with him

Fig.32’’The story of Wise son’’ Medium: Poster colour, Paper, 210mm x 297mm

He was shocked that he heard about it. He is thinking about what I should do. Actually, he has two decisions which are getting to ignore of all that difficulties or getting to fight to the stronger Monster. He thought about it in half day and decided to stay there and fight to the Monster. But he’s been absolutely known that he cannot fight to the Monster through his little body, Instead, he can use his brain, lastly he wants to go to the Monster’s house.

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Fig.33’’The story of Wise son’’ Medium: Poster colour, Paper, 210mm x 297mm

The son came to the front of the Monster’s house. And he called him, Hello, Hello dear Monster. I want to see you. Monster said so angrily who are you, Little boy, you came here to be my lunch. Dear Monster I came here for telling you a good news that the Merman sent me to you. Because he gave a lot of treasures to all of the people on the earth. Also he wanted to invite you at his home. I want to come and tell you.

Fig.34’’The story of Wise son’’ Medium: Poster colour, Paper, 210mm x 297mm

The Monster said happily, You are so good boy. I decide not to eat you, Because I don’t know where the home of the Merman is. If you know that, let’s teach me, If you don’t thumbs up with me, I will eat you as lunch., Son said, ‘’Of course, of course dear. The Merman lives in bottom of the Great Ocean. Monster asked again, So how can I be there? Come on tell me that, son said, it will be difficult but I have an idea to help you.

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Fig.35’’The story of Wise son’’ Medium: Poster colour, Paper,210mm x 297mm

I can give you one of the stone with magic, you should get to tie up on your chest with

durable. The stone will teach you that a way of the house of the Merman. The Monster completely agreed. Son said again, If you want to go so quickly that you can choose another more bigger one. Of course a little son I want to go so fast of my best, Meanwhile, The stupid Monster already ready to jump to the bottom of Great Ocean.

Fig.36’’The story of Wise son’’ Medium: Poster colour, Paper, 210mm x 297mm

Finally, stupid monster gets to jump into the Great Ocean and drowned to the bottom of

it with his huge stone. Will Monster be back?

What do you think, children? Exactly no. This story tells you to be intelligent. Big body cannot be strong without intellect. At end of this story, the Monster died and all the people lived happy without fear. What’s more, they led a happy life forever.

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Fig.37 , Batbileg.Lk ’’The story of Wise son’’ Medium: Poster colour, Paper

210mm x 297mm , (Illustration)

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Fig.38 , Batbileg.Lk ’’The story of Wise son’’ Medium: Poster colour, Paper

210mm x 297mm , (Illustration)

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CHAPTER 6

CONCLUSION

It is hoped that the present work became something different and quite interesting. Many of my colleagues and foreign friends pointed out this work, and asked the characters of this work that make me feel satisfied.

Myth doesn’t have to belong to the ancient time. It is still an enormous cultural and mental heritage and something unique and secret that inherited generation to generation. In this period of time when the world is globalizing and technological development is covering whole world, we young people can’t forget our tradition and culture. We should take it as our duty to inherit our cultural and mental heritage to our next generation and contribute to disseminate significance of myths among today’s young people.

During the time this work was created, I truly understood that liberality is very important to create magical realism work. But childhood is the best time to self-thinking and imagining. Only children believe in myths, legends and tales and imagine purely and brightly. I would like to mention one story that I heard earlier.

“One fall morning, children went to their school in a small town. Primary grade pupils gathered in the classroom. There are children from different background in that class. Among the all, there are two poor boys that live with their old grandparents and have fewer sheep. Before class starts, teacher asked her students to talk about what they dream last night. Most children told that they dreamt of killers and evils or something horrible that they watched before they slept. But the other two boys told about something beautiful. “We rested the heads on high mountains while we were herding our sheep in the unlimited sky. We played over the rainbow and water our sheep with magical water. After drinking the magical water, our sheep flied and played with us all the day. When it gets dark, we went back to home and the stars shined our way to home. When we went in home, we picked a star and gave it our grandparents as a candle. My grandparents were very happy and we laughed out by going around the star-candle.” The teacher wondered why they talked about something much different than others. Finally she found out the reason that the two boys have no television at

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home.

According to above mentioned story, children don’t need to know something deep or real life. They will face it in the future. Otherwise it will affect children pure mind. Children should live their childhood life.

Finally, paintings in this work were never seen in somewhere else before. Yet, it doesn’t mean the best. In this work, it is tried to show special characters, color, description that is probably have never seen before.

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References

Akim.Go, ‘’Mounts intoning epos’’ Ezen Suld Printing, 2012

Bayrmaa.Ch, ‘’The Four harmonious animals’’Soymbo Printing, March,2014 Bayrmaa.Ch, ‘’Mongolian national ornament’’ Admon Printing, 2012

Erdenechimeg.B, ‘’Mongolian best Folk Literature’’ Khuh Mongol Printing, April, 2014 Erdenechimeg.B‘’The Legend of Erkhii mergen’’ Khuh Mongol Printing, January, 2013 Munkhiin useg,’’Mongolian traditional Costumes’’ Munkhiin useg Printing, 2011 Magical Realism: History and Theory."http://www.123helpme.com/view.asp?id=33479 Steven Crook,‘’Taiwan Bradt Guidebook’’June, 2014

Taiwanese Folk Literature,‘’Silver sun golden sun’’ Published, 2001 Tudew Lodon,’’The stone man’’ Admon Printing, 2014

RichjMatheson. ‘’Native Beauty-Taiwan’s Aborignals-Discover Magazine, Published Taiwan travel, May, 2014

http://bonexpose.com/featured/andrew-ferez/#sthash.ysY2FKsc.dpuf- Andrew Ferez, Russian Artist of Magical Realism. September,2014

http://www.alon.tw/ - Alen Chou, Taiwan Digital Artist. September, 2014

https://pilar221b.wordpress.com/2013/10/07/the-art-of-christian-schloe/- Christian Schloe Artist of Magical Realism. September, 2014

http://www.123helpme.com/view.asp?id=33479 - Magical Realism: History and Theory, September, 2014

http://maherartgallery.blogspot.tw/2012/04/jacek-yerka-poland.html- Jacek Yerka, Poland Artist of Magical Realism. October, 2014

http://www.shadowscapes.com- Stephanie Pui-Mun Law, Chinese Artist of Illustration. October, 2014

http://alenkopera.com/Gallery/2014.html- Tomez Alen Kopera, Foland Artist of magical Realism. September, 2014

http://www.marcol.art.pl/setowski/- Tomek Setowski,

Foland Artist of Magical Realism. http://www.123helpme.com/view.asp?id=33479- History of Magical realism. September, 2013

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Taiwanese Aborignal Art. November, 2014

http://www.visionaryartexhibition.com- The new On-line exhibition of Visonery Artists.September, 2014

http://surrealistisch.blogspot.tw/2013/07/christian-schloe.html- The features surrealism, neo-surrealism, visionary art, magic realism, fantastic art, psychedelic art,

experimental art, contemporary art, abstract art, fine art, storyboard art. September, 2014

http://taiwantaiger.blogspot.tw/2011/07/sandy-man.html- Taiwan Aborignal Culture Park. November,2014

http://www.tendreams.org/magic.htm- What is Magical Realism, November, 2014 http://www.theartstory.org/movement-surrealism.htm- The Art story.Org, October, 2014 http://morpheusgallery.com/Dariusz%20Zawadzki/item.php?work=223- Zawadzki, Greek Artist of Magical Realism. September, 2014