| dc.description.abstract | Chang Jui-Pin and Chang Chia-Ying are Taiwanese artists who use classical techniques to fuse elements of Chinese and Western art history, fairy tales and myths, modern and even futuristic science fiction to create fantasy imaginary worlds that refer to reality or are detached from the status quo. Both artists use familiar images to bring the viewer closer to the painting, but they show very different expressions of appropriation. Most of their creations start from personal inner and life narratives, but their pictorial narratives have different strategies and effects. Most of the previous studies on them have broadly discussed their creative forms according to the exhibition′s theme, but have not deeply explored the appropriation techniques with the effect of defamiliarization in their paintings, nor have they deeply understood the meaning behind their peculiar use of roles and identity transformation. Through interviews, we will learn more about the artists′ perspectives and mental journeys, and see how they use appropriation, narrative, role use, and imagination to reduce the overly serious and negative reality with a fantasy approach and lead the viewer to think about different issues with more relaxed and interesting images, or create a place for the soul to rest away from the hustle and bustle.
The first chapter of this Thesis mainly traces the definition and expression of appropriation in Western art history and explores the use and discussion of appropriation by Western artists. After that, the perspective turns back to Taiwan, and from the relevant materials of the two exhibitions on the theme of appropriation in Taiwan and Xie Dong-Shan′s discussion, we understand the development of appropriation in Taiwan and select works to explore the forms and techniques of expression, as well as the differences between Taiwanese and Western art. Chapter 2 first discusses how images produce and express narrative, and then divides Chang Jui-Pin′s appropriation of art history and appropriation of political current affairs and culture and religion into two sections, and discusses in depth the appropriation techniques, role reversals, and the narrative nature of images, as well as how to refer to social current affairs and political issues. Chapter 3 discusses Chang Chia-Ying′s pictorial form similar to portraiture, the special implicit appropriation techniques, the use of characters, the evolution of her painting style, and the characteristics of “look” in her paintings. Then we will explore the characteristics of deadpan theater, her paintings′ interactive narrative structure, and how they implicitly show issues and phenomena in real society. The conclusion is to compare and analyze the two artists′ creations and explore the similarities and differences in their fantasy paintings, and the importance of imagination. | en_US |