色稿 / Color sketch
The scenario I try to capture is when Seediq warriors are pushed to the brink of despair. Mona Rudo and other warriors drink the last wine and prepare to fight to the death. Their only hope is to reunite on the ancestral Rainbow Bridge. As the historical data suggest, the setting is originally placed in a tribe internally. To strengthen the dramatic power of this scene, however, I move the setting externally to forests, which might help expand the audience’ psychological space.
To explore the greatest dramatic intensity of the historic scenario, I imagine a long shot of a battlefield, struck by repeated shelling from the enemy in the distance. In the foreground, the warriors are stuck in the mud and rain, struggling hard to advance. Knowing that this is their last chance to be together, every warrior breaks out crying. Still, sustained by their firm beliefs , they stand fast and decide to fight to the end.
Since I intend to create a history painting of epic proportion, I make this work a long-term project and carry it out in a much more rigorous attitude. During the three years I try hundreds of drafts and imagine all kinds of possibilities about facial expressions, body gestures, and circumstantial settings. Despite the rational analysis and intellectual speculation in the process of draft making and experimentation, my first impression and intuition, I believe, is still the last resort whenever I encounter conflicts. I believe its directness can keep the work pure and simple, creating immediate empathetic response among the audience. The contagious power of emotion should not be ignored. After all, I remember how I was self-motivated to execute this mission: I am deeply touched by the spirit of the warriors in the beginning. It is the grandeur of human feeling, not the mathematical calculation, that makes the story everlasting. I want to convey the psychological depths to my audience.