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Abstract
This thesis focuses on the author’s creation of leather engravings whose subject matters are the author’s personal experience in India and its natural scenery, people and the cultural heritage. Combining the traditional leather engraving skills with innovative skills such as low relief, solid shapes, mixed media, the inlaid form and the dyeing of leathers, the creator intends to present, in realistic form, the observation on the Indian people and life. Through leather engraving creation, the creator also hopes to depict Indian natural scenery, culture and the splendid ornaments of the age of glory. By doing so, the author wishes to present the fascination of diversity in the cultural difference between India and Taiwan and simultaneously stage the specific signification behind the realistic scenery and objects.
This thesis is divided into five chapters. The first chapter states the motive, objective, limits, methodology and explanation of relative nouns of this thesis. The second chapter is the literature review and relative analysis. The third chapter delineates the discourse of creation of the aesthetics of realism in the history of arts and the creator’s shocks in India when travelling there with the praise for the value of life and humanistic concern. The author scrutinizes the history of fine arts and figures out the variety of artistic conception and lives of great artists relative to this thesis.
Also, the author interprets the creations in terms of the presentation, form, media and the skills needed in the creation. In the fourth chapter, the author offers analysis on the reason and conception of creation, composition and presentation of contents and forms, the process of creation and the way of expressing feelings. The fifth chapter concludes with the author’s response to the creation and objectives for future study and creation.
The travel experience in India causes great mental influence to the author due to the existing difference in the living experience and space of life between India and Taiwan. The author appreciates the Indian way of living which is active and not greedy and the Indian people’s positive attitude for seeking the spiritual enrichment. It is expected, through this practice in creation, that the experience and feelings the author obtained in India would be conveyed to the seers. Furthermore, the author combines leather creation with elements and images of India in hope of shaping personal style of creation which might lead the seers to reconsider the meanings of life and might function as a personal reminder for forgiveness and gratefulness.
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