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2004
The silence of the void: exploring the visual
language of the void from the east and the west
Chien-Yu Sun
University of Wollongong
Recommended Citation
Sun, Chien-Yu, The silence of the void: exploring the visual language of the void from the east and the west, DCA thesis, Faculty of
Creative Arts, University of Wollongong, 2004. http://ro.uow.edu.au/theses/208
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THE SILENCE OF THE VOID
EXPLORING THE VISUAL LANGUAGE OF THE VOID FROM THE EAST AND THE WEST
A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE AWARD OF THE DEGREE
DOCTOR OF CREATIVE ARTS
FROM
THE UNIVERSITY OF WOLLONGONG
BY
CHIEN-YU SUN, M.F.A.
FACULTY OF CREATIVE ARTS
2004
CERTIFICATION
I, Chien-Yu Sun, declare that this thesis, submitted in partial fulfilment of the
requirements for the award of Doctor of Creative Arts, in the Faculty of Creative
Arts, University of Wollongong, is wholly my own work unless otherwise
referenced or acknowledged. The document has not been submitted for
qualification at any other academic institution.
Chien-Yu Sun
11 September 2004
Content
ACKNOWLEDGEMENTS..................................................................................................................3
ABSTRACT ...........................................................................................................................................4
INTRODUCTION.................................................................................................................................6
CHAPTER ONE THE VISUAL LANGUAGE OF THE VOID IN THE EAST...........................10
I. THE IMPLICATION OF THE VOID ...................................................................................................... 11
II. THE VISUAL EXPRESSION OF THE VOID IN CHINESE INK PAINTING ...............................................15
The Brushstroke ...........................................................................................................................16
The Use of Chinese Ink ................................................................................................................18
The Use of Space .........................................................................................................................21
III. THE PRACTICE OF THE VOID IN CHAN (ZEN) INK PAINTING .........................................................27
CHAPTER TWO THE VISUAL LANGUAGE OF THE VOID IN THE WEST.........................33
I. THE ORIGIN OF THE VOID ...............................................................................................................33
II. THE MEANING OF THE VOID IN NON-OBJECTIVE ART ...................................................................38
III.
THE PRACTICE OF THE VOID IN SUPREMATISM ....................................................................41
The implication of Black Square..................................................................................................42
The Spatial Concept in Suprematist Paintings...........................................................................466
CHAPTER THREE THE EVOLUTION OF THE VISUAL LANGUAGE OF THE VOID －
CASE STUDIES IN TAIWANESE CONTEMPORARY ARTISTS ...............................................53
CHAPTER FOUR REPRESENTING THE VOID .........................................................................74
CONCLUSION....................................................................................................................................96
APPENDIX I......................................................................................................................................101
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APPENDIX II ....................................................................................................................................103
BIBLIOGRAPHY .............................................................................................................................104
CHINESE BIBLIOGRAPHY .......................................................................................................... 112
LIST OF ILLUSTRATIONS ............................................................................................................ 114
ILLUSTRATIONS ............................................................................................................................123
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ACKNOWLEDGEMENTS
I am grateful to the many people who with their hearts and minds contributed to this
work in many different ways.
My profound gratitude and heartfelt thanks,
to my supervisor, Dr Diana Wood Conroy, who gave up many hours over a
long period to read my many drafts of this paper, provided much valuable
information and extraordinarily important comments on my research;
to my co-supervisors, Jelle van den Berg and Liz Jeneid: with their kind
assistance, support and useful suggestions on my art work;
to Mr. Hsiao Chin and Mr. Liu Kuo-sung who always stand beside me as
an inspirational teachers;
to my classmates, Bill Millward, who offered much invaluable editing
assistance and warm friendship;
and finally, to my friend, Kao Ching-Han, and my parents, Sun Chingchen and Xu Ging-jie, who always give me their great love, care and
support.
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ABSTRACT
This study investigates the visual language embodied in the idea of the void in the
creation of works of visual art. Through the exploration of ancient Chinese ink
painting such as literati painting and Chan (Zen) ink painting (Kao: 1992, Zong:
1981), western geometrical abstract painting of the early twentieth century (Harrison
and Wood: 1992, Malevich: 1968), and the abstract paintings of contemporary
Taiwanese artists, such as Hsiao Chin, Liu Ku-Sung and Lo Jui-lin (Hsiao: 1991, Yip:
1987) the research examines the representative meaning of the void and its visual
characteristics in different eras and cultures.
The energy of the void as it is manifest in various forms of art is explored in both
theoretical and creative research. This study includes ancient Chinese ink painting
that explored how the ideas of Taoist ch'i and the emptiness of Chan (Zen) were
embodied in the expression of brushstroke, colour and space and brought a profound
and simple visual language to Chinese art. The discussion illustrates how western
geometrical abstract painting of the early twentieth century, especially Suprematism,
constructed significant new forms that revolved around the idea of the void. A
combination of eastern philosophy concerning the void and the expressive methods
of western abstraction is embodied in contemporary Taiwanese art and has become
the vehicle in the exploration of the self. This is also the main concern in my digital
creations.
My creative work introduces an artform of abstract sublimation. Its characteristics of
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simplicity and tranquillity convey understanding gained from nature and cultural
awareness. The void in my work is used to enhance the importance of introspection,
combined with modern technology. Through the process of meditating in the medium
of the computer, the artforms evoked by the void have produced a new visual
language that presents an intuitive and spontaneous inner imagery. This work
articulates a tranquil and harmonious aesthetic, related to a long visual tradition that
has emerged as a consequence of art processes linked to the purification of mind.
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