[[abstract]]Traditional painting skills in Taiwan are applied to the improvement department of classical wooded buildings. Since Dao-Quang Years in Ching Dynasty, painting has become easy to see on shrines, temples, and mansions. As for the painting improvement for traditional stage genre, worth probing case studies of the traditional stage shows that both existing materials and real objects are way too limited. The traditional painting improvement construction becomes an imperative lesson to settle down and restudy from clothing suggestions, design and plan, consigning to ways to exact the theory and practice. The research titles the practice of the newly held stage painting in National Traditional Fine Arts Center (hereinafter called Chuan-yi Center). The stage is special for being set in the main spot of the moving path in the center. Also, it is an individual single-built landmark; moreover, it is the first case of practicing painting construction among the same type of constructions. In this way, the central point of this research will not only come from ways to bring out the best in the spirit of traditional arts but also from references and regulations showed for corresponding constructions in the future through this experience. According to the exacting practice of traditional stage in Chuan-yi center, the research is set to rebuild the theory of exacting practice, gaining the field or the relative field of traditional constructional painting a reference to rethink and regulations to follow. The research will take the followed procedure, method, and materials of traditional painting as a presupposition first, then consider the relationship between wooded structure and stage space along with the application of color and pattern. Plus, the research will cover factors like the roof truss, colonnade, bracket, cornice, Tai-shi interface and Beauty-leaning railing. Overall, there are five chapters in this research. The content is as follows: Chapter one -- Introduction In this chapter, the motivation and expectant purpose set for the project in this research will be introduced. At the same time, in order to fulfill the credibility and feasibility of the statement in this research, there will be an anticipatory review for correlative materials concerning traditional painting or traditional stage painting. Besides fixing the dimension of the research as well as devising workable and concrete methods, the developmental stream will be apprehended and addressed. Chapter two -- A brief sketch on Chinese traditional stage This chapter describes the genre and feature of traditional stage in Taiwan as well as the development of traditional stage in China in full aspects. Regarding the part of Taiwan, there will be an interpretation for the existing considerable case. The Great Flower Saloon of Lin's House in Wu- Fung is in no exception. Though ruined in 921 earthquake, the stage is still the practical experience of repainted practice. As a result, the stage becomes an essential descriptive case of traditional stage painting. Also, its value is undoubted. Chapter Three – The construction of traditional stage painting in Chuan-yi Center This chapter mainly analyzes the setting background plus the feature of stage structure. Moreover, concrete strategies and working methods will be explained further one by one, showing the adaptability and feasibility of the stage painting construction besides the correspondence of the existing case. Chapter Four -- The description of design and creation in the traditional stage painting construction The designed concept, the skilled method and media of art form along with the decorative pattern are disserted respectively, mainly constructing the core value and feature of the research. Chapter Five -- Conclusion This chapter shows the meaning of our time the research expresses while the possibility of applying the latter by extending the construction experience is in discussion. At the end, suggestions for further study will be presented.
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