The interpretation of seal carving Ni Zan and Wang Meng paintings

Miao, Ying Fan

The interpretation of seal carving Ni Zan and Wang Meng paintings

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General Information Cached

Title

The interpretation of seal carving Ni Zan and Wang Meng paintings

Type

Thesis

Main Author

Miao, Ying Fan

Subject

ND Painting

Language Code

eng

Bibliographic Details

Place of Production

Tanjong Malim

Publisher

Fakulti Seni, Komputeran dan Industri Kreatif

Year of publication

2020

Notes

with CD

Degree Type

Masters

Corporate Name

Universiti Pendidikan Sultan Idris

Abstract

The seal is a form of special artistic expression in Chinese painting, and it is an inheritance as a representation of Chinese ancient traditional arts in the modern days. Seal is the final step in completing a Chinese painting. This research aimed to interpret the seal carvings in the ancient Chinese paintings. This research employed a qualitative research design. An interview was conducted to gather qualitative data from four experts, two art teachers and two artists from China. The participants of the study were asked to evaluate and interpret the five paintings of Ni Zan and five paintings of Wang Meng. The findings showed that the seal carvings on ancient Chinese paintings were presented through the art elements such as size, shape, meaning, reading style, and color. The findings differences despite both artists came from the same dynasty. Both seals in Ni Zan and Wang Meng’s paintings were found to have the balance, color and appearance of their paintings. Furthermore, when searching on Ni Zan seal paintings, the researcher found four aspects. The first aspect was the perspective of aesthetic art styles in landscape painting. The second perspective was the method of appraisal of calligraphy and painting works. The third aspect was the reasons of the formation through Chinese landscape painting, and the last aspect was the perspective of spatial construction in the ancient Chinese landscape painting. On the other hand, when examining on Wang Meng’s paintings, there were five perspectives emerged. The first was the use of brush and ink techniques, the second was the process of Chinese landscape painting in the creative practice, and the third was Wang Meng’s landscape paintings based on other people’s inspirational perspectives. The fourth aspect was the introduction of painting style, and the last aspect was the Wang Meng’s landscape painting space. In conclusion, the study found that there were similarities and differences between Ni Zan and Wang Meng paintings. The study implicates that Ni Zan and Wang Meng’s paintings manifested that the seal carvings in paintings were crucial in the history of China and they might serve as a guide and reference to future painters in traditional painting genre.

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