Working Notes and Inquiring Questions

     There is a list of questions I have speculated for many years while producing my works of art. Some of them are written in affirmative sentences and some are interrogative sentences. These questions present my original hypotheses. They almost bothered me for a long time. I tried to solve them through introspection, literature analysis, doing experiments, and discussing with other professional persons. The result was that some questions have definite answers, but some haven't. Some answers stultified themselves afterward, and some stultified answers were proved to be right. As a consequence, I doubt whether all of my thoughts are transient. For this reason,I only list all these questions as follows but no my opinions. I am willing to discuss with anyone whom is interested in my ideas about

these questions.

‧ How do I draw a picture of sunlight dancing on a leaf? What does

 this make sense to me and to others?

‧ Why am I so enchanted in the relationships between sunlight,tree,

 wind, and shadow on a wall?

‧ Does the nature itself be aware of its fascinating? Or, do I fascinate myself by my awareness of it?

‧ How do I become aware of the enchantment?

‧ Is it necessary to transform mortal things into eternal memory?

‧ Am I touched by the content of object or by the form of object?

‧ Can the content and the form of object be independent of each other?

‧ What can the form provide for the content?

‧ What's the limitation of the form?

‧ What's the limitation of the content?

‧ Is there a common-accepted definition for the meaning of art?

‧ Sensation, perception, and feelings are real and direct. Can they be persuaded?

‧ Deep feeling is established in mortal knowledge.

‧ Is there "sequence", "hierarchy", and "variability" among ideas?

‧ Is there commonness and uniqueness existing among varied knowle dges?

‧ Is distance charming? Is ambiguous charming? Does our imagination make it more charming?

‧ Is there anything else that visual art should carry?

‧ Do I actively or passively involve in exploring the problems of human affairs? Why should I explore it so seriously? Does the art itself have to take this problem into account too?

‧ Before I am thinking, what is my basic assumption?

‧ Is any "-ism" determined by human being or by nature?

‧ Is it necessary to know whether a product of art is genuine?

‧ How do I know whether the original worker is honest?

‧ What is the reason to hold an exhibition?

‧ Then what for?

‧ Is it necessary to categorize the art media?

‧ What are the differences between two-dimensional art and three-dimensional art?

‧ Do I weigh every kind of art media equally?

‧ What is the limitation of two-dimensional art?

‧ How did Picasso acquire the appreciation of art media?

‧ Taken away all the decoration, what does the work of art remain?

‧ Do I use my own unique language or the public language to express my ideas through paining? Which one is more creative?

‧ Do the productions of art have to carry the moral obligations?

‧ Do the productions of art have to carry the polite literature?

‧ Does the title of a work need to be named so extraordinary?

‧ How do I make the visual sensation of an art work look lively?

‧ Does the spectator enjoy the work actively or passively?

‧ What are the children's voluntary actions? What are adults' voluntary actions?

‧ Are there any criteria to determine whether a work is completed?

‧ What do you get from the appreciation of visual art?

‧ What does the appreciation of visual art evoke you?

‧ What does the appreciation of my own work evoke me?

‧ How do I grasp the scene from my own imagination? Is it the most unique way to produce original work than others?

‧ What are the gains and losses if I duplicate others' work?

‧ What are the gains and losses if I do my art production again?

‧ What is the difference between to be egotistic and to be self-intoxicated by one's own imaginary successes?

‧ What I do is to please myself or to please others?

‧ How do I record the feeling?

‧ How do I be aware of the limitation of art media?

‧ Can Digital Technology duplicate all kinds of visual art?

‧ Do I have to solve the problems of asking why?

‧ Human beings are incapable of duplicating nature.If I were a leaf of a coconut palm, I would realize the true meaning of wind blow. Then I will be satisfied.

‧ I fully understand what enjoys me is the style of modest/softness

 and the manner of solemnity in the painting.

‧ How do I construct the style of modest/softness?

‧ How do I capture the harmony of ink dye?

‧ How do I express the manner of solemnity in the painting?

‧ How do I create the dynamic power while painting?

‧ Life is dynamic. Even it is right in this way today, it doesn't mean tomorrow will be right in the same way. Similarly, thinking is dynamic too.

‧ Having integrated all my past experiences to be a lively and responsive tool, I find it is the only way to turn back to intuition and simplicity.