| Budget Amount *help |
¥2,000,000 (Direct Cost: ¥2,000,000)
Fiscal Year 2001: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 2000: ¥1,300,000 (Direct Cost: ¥1,300,000)
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| Research Abstract |
This paper focuses on drawing, not only the concepts of Western drawing, but Oriental painting (by which Japan has been greatly influenced), and reexamines problems in teaching the fundamentals of form in drawing with a new methodology.
I pose the theoretical hypothesis that through traning and practice in drawing, sense of balance and harmony - both aspects of aesthetics - are cultivated, and use scientific (geometric in particular) approaches to try to verify that theory. In the West, the Golden Section has long been respected as a model of balance and harmony. By trying to apply it to monumental art works representative of each era, I confirm that the Golden Section is sufficiently enshrined as an aesthetic standard or order in works created through the artist's trained sensibilities. This hypothesis is not only applicable to Western painting, it is also evidently applied widely in Oriental painting and calligraphy.
The theoretical insight posited in this paper is also suggested in the Primordial Line theory set forth in Shih-t'ao's "Hua-yu-lu". A comparison of the Primodial Line theory and drawing (in respect to the role of drawing in basic form-related education), examining their commonalities while keeping the Orient in view, indicates the importance of awareness of vantage point, and observing planes from that fixed vantage point as a concrete methodology.
In teaching form, balance and harmony, which appear to be vaguely dealt with as something aesthetic, should be presented with more distinct guidelines, dealt with scientifically, and thus, as methodology in basic form-related education, present awareness of vantage point, and observing planes from that fixed vantage point. I conclude that drawing is something that trains one's eye, and even fosters sensibility of nature's scale and order within, hence its importance.
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