Holistic View and Microscopic Vision 統覽 ‧ 微觀
自畫像 Self-Portrait 2012. 23x18cm Acrylic on paper
統覽
作畫是沉默持久的工作。畫家的一生就是搜搜尋尋，隨著年歲增加而壘積加深。畫到終了有無答案恐怕永遠是個謎。唯其如此，
微觀 ‧
到了一個階段自己往回看看走了多遠也變成重要一環。其中有快樂、有煩惱；樂的是好像作品增加了份量，煩惱則又變成不滿 和猜疑，覺得更好些才對。 我從五十年代後期開始走自己的路，用抽象形式的大方向向前行。抽象在我的理解中卻一點也不單純，比忠於自然外貌的描繪 複雜多了，它終極出現的形像，必都經過了改造，以致初看時難以撲捉其奧妙。現代藝術的另一特點是要發揮媒材本身。繪畫 的啟發更是歷史各階段一再去引證的規則。畫家面對自然與面對歷史我以為正好是一半一半。在我出發的五十年代，最貼近的
藝術家
克力 (acrylic)。油彩從後印象主義已出現不同前的生機了。塞尚與梵高都把油彩的膏狀厚度解放了出來，堆積出三度性的空間而
莊喆
一段歷史是抽象表現主義掀起大波瀾的那一段。透過抽象的視點來看自然也就變成我去搜尋的規則。我選用的媒材是油彩與壓
掘了出來。壓克力顏料還不滿一百年，基本上是仿造油彩的新種，用水來調拌更能在時間效率上撿到便宜──快乾。在這五十
成一種實體。相反一面又能傳達出輕快飄逸，塞尚與梵高的畫兩者俱有。而在抽象表現主義的畫家群可說把油彩的性質徹底發
年之中油彩與壓克力都在我的畫上成重要的一環。厚重與稀釋互移互動，都視圖面形像的需要而調整運用。抽象解析到最後可 成一條線，一個點，成一團色。但是組合成一幅油畫時它的機能又可以無限擴大。東方的道家美學最能洞察其中的玄妙。中國 書畫正是道家美學的精萃。把宇宙、人文、歷史之間的廣大空間都含蓋在內。我覺得該也是抽象藝術可搜求的路線。山水、人物、 花鳥靜物分頭發展了千年了，如果能用一種有效的形式統統含蓋在內，是可能的嗎？立體主義做到了。用自由抽象也應能辦到。 過去十年，我有意無意的在搜求這可能性，這次展覽的作品也都各有呈現。我強調以繪畫性為旨標，而畫材的變化因水與油的 變化突出質地，細微的紋理與色種的混合也用最大可能來控制。畫題則是在不同的指標下由呈現出來的圖像符與的。此展就用 統覽 • 微觀來解析。
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Holistic View and Microscopic Vision
Making paintings is a work of taciturnity and endurance. A painter’s life is essentially a continual search. As one ages, the search accumulates in depth. Whether painting until the end would yield any answer remains a mystery. For precisely that, at a certain stage, looking back to see the distance traveled becomes an important assignment. There is joy; there are troubles. Joyful because of the apparent growth in substantiality; troubled by self-doubt and skepticism, feeling that everything could have been better. I began taking my own path in the late 1950s, embarking on the general direction of abstraction. Abstraction, in my understanding, is not at all simple. It is much more complex than tracing the likeness of nature and its form. The images it ultimately carry all have been transformed, resulting in the difficulty in capturing its wondrousness at first sight. A unique character of modern art lies in the unleashing of the materiality of the medium. Painting inspirations come from repeated citations and proofs from various developments in history. In my opinion, painters confront nature and history in equal measures. At the moment of my beginning in the 1950s, the most immediate history was the strong wave set off by the peak of Abstract Expressionism. Viewing nature through the perspective of abstraction naturally became the principle of my search in art. I chose oil and acrylic as my media. Oil has spawned various strands of vitality since postImpressionism. Cézanne and Van Gogh both liberated the ointment-like denseness of oil, layering it to create three-dimensional spaces, something of real substance. At the same time, oil can convey lightness, sprightliness, and fleetingness. Cézanne’s and Van Gogh’s paintings embody both effects of oil. And artists of Abstract Expressionism could be said to have explored the potential of oil to its limits. Acrylic, which has been around for less than a hundred years, is fundamentally a new material imitative of oil. With its waterbased and fast drying qualities, it is a great bargain in terms of time and efficiency, which further suits modern society’s penchant for speed. In the past fifty years, oil and acrylic are the critical elements in my work. The denseness and diluteness interchange and interact with each other, and they are employed differently accordingly to the need of the image.
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By Chuang Che Translation by Lesley Ma
Abstraction could be reduced to one line, one dot, or a blot of color. But when combinations of these components form a painting, their functionality can expand limitlessly. Taoism of the East can best observe the mystique within. Chinese calligraphy and painting have precisely extracted such essence from Taoist aesthetics. They encompass the universe, humanity, history, and all the vast space in between. I think this path is also what abstract art should follow. Landscape, human figures, and bird-and-flower genres have developed on their own for thousands of years. Is it possible to use an effective method to encompass them all? Cubism achieved that. Using free-form abstraction could possibly work as well. In the past ten years I consciously and unconsciously searched for this possibility within abstraction. The works in this exhibition host this intention also. I emphasize having painterly quality as mission, using the structure of abstraction to holistically view the changes in painting materials, whose texture and materiality are accentuated by the chemical reactions between oil and water. The resulting intricate grains, patterns and color mixture are treated with the most control possible. The titles are given by images that emerge within the work guided by various indicators. This exhibition thus requires the analytical threads of “holistic view,” “microscopic vision.”
雪國 Snowland 1973. 120x83cm Acrylic, Oil on canvas
看 一 幅 畫 時 ， 常 覺 得 它 來 自 千 里 之 遙 。 看 我 畫 望 你 也 有 同 感 。
While admiring works of art, one often feels their origins are from the furthest reaches abroad. When you view my own painting creations I hope you will share the same feeling.
莊喆
Chuang Che
莊喆個展自述 ／「統覽 微觀」申論 ‧
時去也，意興正濃；秋來也，造極登峯
俗語說得好：「薑是老的辣！」據我所知在莊喆的心目中，在近代畫壇中，有兩塊薑，既夠老，又夠辣，他倆個是誰呢？告訴你， 一個是他常常鄭重其事地，向年輕朋友提示的：「看看齊白石好了！」；另一個則是他動不動就自然而然提到的「老畢！」不消說， 在莊喆的心目中，齊白石 (1864 – 1957) 和畢卡索 (Pablo Picasso 1881 – 1973)。一中，一西，乃是他真心崇拜的英雄和心嚮往之的標竿。 如果你問老畢：「那一幅畫是你最滿意的？」他的答案，永遠是乾脆得不能再乾脆：「下一幅！」你問老莊同樣的問題，他的答案， 縱然和老畢不盡相同，精神上，卻是同氣相求，頗為一致的：「你且等著看就是了，我這就快找到了。」 情形既然如此，我們可以斷言，老莊和老畢一樣，都是不折不扣，道道地地的理想主義者。唯其如此，畢其一生，都不斷朝著 理想目標，努力奮進。 如所周知，理想之所以成其為理想，正是在於它不斷地引導你向它邁進；而它又永遠不會讓你輕易到達：尤其是像老畢和老莊 這種藝術家，他們心懷的理想，說穿了，其實是與時推移的，你前進，它就後退！所以它變得愈來愈遠；愈來愈高！這就難怪 這回老莊要作「畫家一生，就是搜搜尋尋，隨著年歲增加而壘積，加深，畫到終了，有無答案，恐怕永遠還是個謎。」的表白了。 莊喆上次返台在亞洲開展，我和楊興生特地為他和馬浩安排了一次餐會。席間我見他興高采烈地對著我引介的黃進龍、莊伯顯 兩位後生，做出一場言簡意賅的現身說法，他當場津津樂道地提出五個要點；前兩天我和他越洋通話，提到這件事，他又補上 了兩點。言者既然有心，聽者也很在意。那就讓我在此把它們稱為：「老莊論畫七要」吧！
美學家兼藝術評論家
莊喆說：「我覺得畫到晚年，作畫，第一、要準；第二、要狠；第三、要忍；第四、要穩；第五、要潤；第六、要深；第七、要沉。」 若從美學的觀點來看，老莊論畫七要所涉及的，無論是藝術家的創作活動「構想、技法」，或是藝術品的本身「媒介、形式、意涵」 以及觀賞者的感應「趣味、美感」，可謂一應俱全，面面皆到！ 在此，我沒有必要強作解人，只消轉告讀友，在口頭上，老莊只向我提到，所謂穩，關係到的是平衡；忍，關係到的是彈性和力道；
劉文潭
潤，是畫面不要顯得生硬；而狠，他說：「看看齊白石，那線條是多麼的不同凡響！」；沉，是指重量；至於準，當然是指精準； 這倒使我立刻想起台北故宮收藏的那位當眾指証：「孔雀升高，必先舉左！」而令眾工駭服的宋徽宗來。他所畫的那幅「蠟梅 山禽」：兩隻緊緊依偎的白頭翁，是以十分細膩的筆法畫成；就連梅枝，也表現出清楚的質地和紋理。當然我明白莊喆並非指
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此而言，但是，觀察入微、意到筆隨的功力，卻是初無二致的。那麼深呢？可能是
這十五幅畫，莊喆表明是根據他呈現出來的圖像來命題的。那麼，他在二 OO
因為他認為無需再作提示；也可能是一時之間，他忘了提。不過，我所想到的則是
六年六月間，向我在書函中表明的「以山水為宗的畫思，該是不會變的了。」
陶淵明飲酒詩中所提及的「此中有真意，欲辯已忘言。」真意為何？相對於老莊而言，
依舊是有效的。
想必就是天人合一，不似之似的美妙境界吧！
我留意到，莊喆在他這次個展自述 ─「統覽 • 微觀」一文中，把「自由抽象」
莊喆告訴我們，他早在 50 年代便已決定採用抽象的形式來從事創作。並且他打一開
視為一種可望將山水、人物、花鳥、靜物等等，通通涵蓋在內的一種「有效的
始就明白，這比忠於自然外貌要複雜得多。像這樣一路走來，走到如今，他乾脆以
形式」。
「繪畫性」為旨標。把話說白了，就是提醒我們，最好把他的畫，當作畫來看待， 至於畫的是些甚麼，無論是山水、人物、花鳥、靜物…等等一切，他都竭盡心思，
時至當今，已經進入了社會文化學者所謂「後現代」的階段。「自由抽象」這 個名稱，很可能會產生誤解，有辨明的必要。
統攝在他最後呈現出來的抽象結構之中。既然抽象的結構不同於自然的外貌，所以 他要看畫的人，自己去思考，得出來的意象，愈豐富愈好。老莊一向贊同多義、多象。 他鼓勵看他畫的人，以自由心證的方式，從他的畫裡多看出一些名堂。這也就是說， 看畫的人，如是人在畫外，而能心入畫內，那就大可陪同老莊，盡情享受人間、自然、 宇宙間的無盡藏了。苟能如此，福氣可就大啦！
須知，後現代所強調的是創新和自由；不過，也正是因為過份執著創新和自由 的緣故，終致陷入缺乏中心思想和崇高理念的文化困境。所幸，有識之士已經 覺曉：光是反叛和無限的自由是不行的；對於傳統原則的省思與變革，乃是包 含藝術在內，一切文化的命脈。唯有在傳統文化原則存在的情況下，我們才有 機會去突破；而傳統可以增加智慧，原是一種不爭之實。大家在後現代主義中
這次，莊喆在亞洲藝術中心展出的畫作，依序是：
所學到的最後一課，應是：我們需要自由和限制之間有益的緊張關係。藝術家
一、青山疊翠 (2001)
九、石蒼雲燦 (2010)
也必須扭轉無法無天、肆無忌憚的致命傾向，甘願回歸傳統。如此方可借古開
二、遠立 (2006)
十、吉峰向暖 (2010)
今，自強不息。
三、煙籠寒水 (2006)
十一、早春 (2010)
四、空谷清音 (2007)
十二、茫 (2012)
五、回音谷 (2007)
十三、春逢 (2012)
六、生機滿溢 (2009)
十四、鑲紅引綠 (2012)
七、雲谷 (2010)
十五、高望 (2012)
八、聖山 (1995~1996)
切實而論，當前中國大陸藝術界，之所以一下子冒出不少怪胎，反叛傳統，假 借自由，大量塗抹出許多醜惡不堪，令人作嘔的東西，可以說，也正是因為生 逢其時。 相較之下，莊喆所謂的自由抽象，充其量只在表示，他有意拉遠忠於自然外貌 的距離。關於這一點，我早已指証過：在老莊內心的深處，一向就存有一條「文 化中國的歷史條鍊」；而他這次在自述文中，也再次聲明：「畫家面對自然， 與面對歷史，我以為正是一半一半」。就憑他所面對的這一半，如何除舊佈新，
以創作來承接傳統，也就理所當然地成了他責無旁貸，當仁不讓的歷史文化使命。 「好的傳統，永遠是好的現代；好的創作，永遠是好的傳統！」這是我記下寇培深 道兄生前留下的名言。而至少是在十二年前，莊喆就曾向我對此大表贊同。說實話， 在我的心目中，他們兩位都是很有使命感的藝術家，非常值得我們敬重！ 「台上一分鐘，台下十年功！」這是我們常常在藝文活動的場合中，聽到的順口溜， 偏偏這個順口溜，一語就道破了藝術家的不凡成就，必須付出的代價。 莊喆朝夕與油彩、壓克力廝磨。屈指一算，不覺已足有五十多年，早就超出十年許 多，許多！在這當中，他越來越摸清楚它們哥兒倆一個厚重、一個輕快的個性。而 它們哥兒倆，也越來越聽從莊喆的使喚。甚麼叫「熟能生巧」；甚麼叫「得心應手」； 甚麼叫「隨心所欲」，當你面對莊喆的畫作，仔細查看他到底使出了多少種手段， 驅使它倆，逼著它們各自施展出渾身解數，圓滿達成他賦予他倆的表現任務，你就 會在心領神會之餘，禁不住拍手叫絕了！ 猶記 43 年前，我曾為莊喆寫了一首總結其畫風的四言詩：
寓力於美，藏華於質；妙造自然，離形得似。 當時，國立歷史博物館何浩天館長在電視廣播中引述了這首詩，使得它一時之間流 傳甚廣，這也算得上是趣聞一樁吧！
莊喆畫好友劉文潭 Portrait of Liu Wentan by Chuang Che 1993. 65x13cm Mixed media
走筆至此，我這篇恭謹不如從命的申論，也該適時打住了。 聽說這次個展，莊喆伉儷因故缺席。那就讓我在此為他打造一付對聯，聊表老友述 實、祝禱的一番心意吧！
時去也，意興正濃， 秋來也，造極登峯！ 二 O 一二 • 九 • 四日 6:27pm
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Time passed, to be highly enthusiastic Autumn's coming, to reach great heights! Essay on Chuang Che’s Artist Statement for His Solo Exhibition: Thoughts on “Holistic View, Microscopic Vision”
By aesthetician and art critic Liu Wen-Tan
A Chinese aphorism goes: wine tastes better over time. To my knowledge, in Chuang Che’s mind, there are two such “wines” in modern art, both aged well and host ample flavors, but who are they? I’ll tell you, one he often mentions with all seriousness to young aspiring artists: “Go admire the works of Qi Baishi!” The other is whom he speaks about frequently and somewhat irreverently, the “Old Pablo.” Needless to say, in Chuang Che’s mind, the two masters of modern art are Qi Baishi (1864 – 1957) and Pablo Picasso (1881 – 1973). One Chinese, one Western, both wholeheartedly admired as the heroes of his heart and with lofty heights to which he aspires to emulate. If one were to ask Old Pablo: “Which is your favorite work?” His answer is always without hesitation: “next one!” If you asked Old Chuang the same question, his answer would be different from that of Picasso while sharing a common spirit: “You just wait and see, I have nearly found it.” Given such, we can conclude that Chuang and Picasso are full-blown, genuine idealists. Thus, they strive, at every step along the way to move toward their ideal goal, arduously progressing along. As it is said, an ideal arises to the level of ideality through continuously guiding one toward it; whilst it also ensures that an easy capture remains ever difficult. This is especially so for artistic geniuses like Picasso and Chuang, whose hearts are filled with ideals that evolve over time. If you inch forward, it retreats away! Thus the ideal becomes more distant and lofty! Hence we can understand why Chuang confesses this time with such statement: “A painter’s life is essentially a continual search. As one ages, the search accumulates in depth. Whether painting until the end would yield any answer remains a mystery.” Last time when Chuang Che returned to Taiwan for his solo exhibition at Asia Art Center, Yang Hsing-sheng and I arranged a special dinner for him and Ma Hao. During the dinner, I saw him explaining with such high spirit to Huang Chin-lung and Chuang Po-hsien, two artists of a younger generation, in simple but quite persuasive terms, about “five basic guidelines.” Two days ago we discussed this matter on the phone, when he added two more points. As the speaker had strong convictions, the listener naturally was quite taken. So let me now refer to them as “Chuang Che’s Seven Painting Musts.” Chuang Che said: “I have realized as I age, painting, firstly, must be precise; second, must be merciless; third, must be enduring; fourth, must be steady; fifth, must be smooth; sixth, must possess depth; and seventh, must be weighty.”
瑞雪 Auspicious Snow 1985. 43x58.5cm Oil on paper
So from an aesthetic perspective, “Chuang Che’s Seven Painting Musts” not only refer to the artist’s creative endeavoring for concept and technique, or the art work’s medium, style, and signification, but also to the viewer’s response to intrigue and beauty. It is allencompassing and comprehensive!
Here, I have no pressing need to act but am merely advising my readers what Master Chuang verbally offered. To be steady requires balance; to endure, means a dependency on elasticity and force; one must achieve smoothness, so that the image does not appear stiff; and as for mercilessness, he exclaims: “Look at the work of Qi Baishi, how the lines are so uniquely magnificent!” Weightiness, refers to mass. As for precision, it of course means accuracy; it actually reminds me of the one whose work is in the collection of the National Palace Museum – Song Huizong – who astonishingly impressed all artisans by pointing out: “When a peacock lifts itself, it always raises its left leg first!” In Huizong’s Winter Plum Blossoms and Mountain Pheasants, the intimate embrace of two Chinese bulbul is executed by delicate brushwork. Even the plum blossom branches were executed with meticulous texture and patterns. Of course I know that Chuang was not referring to this particular work, but, the ability to be observant to detail and make the brush follow one’s mind is identical with his intention. But what about depth? Perhaps he thought it needn’t be explained, or perhaps, he simply forgot to elaborate. But, to me, it conjured up Tao Yuanming’s poem on imbibing which goes: “Here resides true significance, so there is nothing left to debate.” What true significance? To Chuang Che, it must be the harmonious unity of one’s self and destiny, an amazing zone of uncanny resemblance! Chuang Che has informed us, as early as the 1950s he had chosen abstraction as his style of painting. He also understood from the beginning, his creative process entails much more than mere fidelity to the natural appearance of things. Traveling on such path, he has identified the goal of “painterly quality.” Put more simply, as a reminder to us all, it is best to consider his painting for painting’s sake. Whatever the content – landscape, human figures, bird and flower, or still life, he has exhaustively embedded them all within the abstractionist structures. And since the abstractionist structure differs from that of natural appearance, he asks his viewers to think on their own to produce its significance, as abundant as possible. Chuang Che has always believed in multiple meanings and forms. He encourages admirers of his works to rely on their own sensibilities and sensitivities to see the nuances in his work. This is how those who enjoy paintings, especially non-artists, who desire to penetrate the barrier to comprehend paintings, should join Chuang Che, by enjoying uninhibitedly the limitless treasure between our lives in this world, nature, the universe. This way, the blessings in our life can truly be amazing!
In this exhibition at the Asia Art Center, Chuang Che will show the following works: 1. Lushly Green Mountain (2001) 2. Standing Away (2006) 3. Freezing Water amidst Fog (2006) 4. Voiceless of the Valley (2007) 5. Echo Valley (2007) 6. Overfilling Vitality (2009) 7. Cloudy Valley (2010) 8. Holy Mountain (2010) 9. Green Rock and Splendid Cloud (2010) 10. Auspicious Peak Facing Warmth (2010) 11. Early Spring (2010) 12. Hazy (2012) 13. Encountering Spring (2012) 14. Red and Green Embeded (2012) 15. Looking Atop (2012) These fifteen paintings all employ titles evoked by images within themselves, Chuang Che acknowledges. Thus, his remarks in June 2006 in a letter to me indicating “Recognizing landscape as the foundation of one’s artistic inspiration is not likely to be altered” still seem to ring true. I also noticed that Chuang Che, in the artistic statement of this solo exhibition “Holistic View, Microscopic Vision,” treats free abstraction as an “effective form” that encompasses landscape, human figure, bird and flower, and still life. Today, we have entered what the socio-culturalists refer to as the “postmodern” era. The concept of “free abstraction” may bear misconceptions, so it needs clarifications. A case in point: in today’s Mainland Chinese art saw an emergence of so many absurd artists, who reject tradition in the name of freedom and produce truly grotesque and revolting expressions. They work merely reflects their time.
11
One must know that postmodernism emphasizes innovation and individualism. However, it is precisely because of the overemphasis on such that we find the cultural predicament of the loss of core values and of sophisticated vision. Luckily, though, some among us have become enlightened: mere rebellion and unfettered freedom are not enough; instead we must reflect upon and radicalize our traditions, which includes art and holds the life line to all cultures. It is only when we actively preserve our traditional cultural values that we have the opportunity to achieve genuine breakthroughs. Tradition can enhance our wisdom, as we all admit to be true. So as we all learn from our last lesson in postmodernism: we thrive on the beneficial tension between freedom and restraint. Artists must also move beyond the ungovernable and uninhibited tendency to push art to the extreme and willingly return to grounding in tradition. It is only then that we can borrow from our past to illuminate our present and be assured of our sustainable strength. In contrast, Chuang Che’s free-form abstraction refers mostly to how he intentionally distances himself from a fidelity to the natural appearance of things. In regard to this, I long ago noted: deep in Chuang’s heart, there lies a “profound historical link to culturally China.” In his statement, he reiterates: “Painters confront nature and history in equal measures”. His confrontation to history is laden with the task of replacing the archaic with the new and creating works to continue tradition, which naturally becomes an unquestioned responsibility and a historical and cultural destiny for him. “Proper traditions, will always make for a proper present; excellent creations, will always formulate excellent traditions!” This is a quote I remember from the late Kou Peishen. And it was at least twelve years ago that Chuang Che expressed his favorable impression for this point of view. To tell you the truth, in the deepest recesses of my heart, both of these artists have a profound sense of responsibility and deserve our earnest respect! “One minute at the dais, from ten years behind the desk!” is an aphorism often delivered casually in the arts. But it quite succinctly captures the price the artist must pay for their success. Chuang Che labors relentlessly with oil and acrylic, day and night. Now he has already been engaged in his art for more than five decades, in decade upon decade! During this time, he has developed close bonds with these two “buddies,” one heavy and dense while the other light, sprightly, and fleeting. And these two have become closely bound to the commands of their Master Chuang. What we mean by “well honed skills”; or “techniques honed from the heart”; or “soulfully inspired,” is answered one after another when I view the paintings of Chuang Che. By carefully inspecting his deft artistry in commanding these two media as he forces them to reveal their nature and potential as they complete their tasks of expression, you could not help but applaud such mastery!
It was some 43 years ago that I first wrote this poem for Chuang Che to summarize his painting style: A most powerful beauty, Refined within elegant flowery; Seizing the nature artistically, not naturalism but rhythmically. Back then, the Director of the National Museum of History, Ho Hao-tien, recited this poem on television, ensuring the poem reaching a wide audience. Surely this too is another among many interesting anecdotes related to this work! As my page reaches its fullness, this work has strived to explain my perspective, but perhaps self-restraint is better. I understand that the Chuangs will regrettably be absent on the occasion of the solo exhibition. However, I hope that my following couplet will express my fondest wishes for a long, long life in good health for my dear friend and admired artist! Time passed, to be highly enthusiastic Autumn's coming, to reach great heights!
September 4th, 2012 6:27pm
圖版 Plates
14
čŒŤ Hazy 2012. 76x202cm Oil on canvas
16
生機滿溢 Overfilling Vitality 2009. 76x202cm Oil on canvas
吉峰向暖 Auspicious Peak Facing Warmth 2010. 76x126cm Oil on canvas
19
空谷清音之五 Voiceless of the Valley No.5 2007. 127x168cm Oil on canvas
雲谷 Cloudy Valley 2010. 127x168cm Oil on canvas
22
石蒼雲燦 Green Rock and Splendid Cloud 2010. 127x336cm Oil on canvas
煙籠寒水 Freezing Water amidst Fog 2006. 127x168cm Oil on canvas
青山疊翠 Lushly Green Mountain 2001. 168x127cm Oil on canvas
遠立 Standing Away 2006. 168x127cm Oil on canvas
28
春逢 Encountering Spring 2012. 76x202cm Oil on canvas
早春 Early Spring 2010. 96x127cm Oil on canvas
32
鑲紅引綠 Red and Green Embeded 2012. 76x202cm Oil on canvas
34
晨趣 Morning Pleasure 2008. 76x202cm Acrylic on canvas
高望 Looking Atop 2012. 101x75cm Acrylic on canvas
嶺上風雲 Landscape on the Mountai 2006. 167x127cm Acrylic, Oil on canvas
38
秋野 Autumn 2007. 126x168cm Acrylic on canvas
40
溪岸春曉 Dawn on the River Shore 2007. 127x168cm Acrylic on canvas
回音谷之三 Echo Valley No.3 2007. 126x167cm Oil on canvas
無題 Untitled 2006. 167.5x203.5cm Oil on canvas
雲嵐疊嶂 Misty Cloud and Mountain Peak 2008. 167x168cm Acrylic on canvas
46
翠谷之一 Green Valley I 2007. 126.5x334cm Acrylic on canvas
翠谷之二 Green Valley II 2008. 168x336cm Acrylic on canvas
50
獨立蒼茫 Stand Alone on the World 2008. 171.5x346cm Acrylic on canvas
52
空谷清音四 Voiceless of the Valley IV 2006. 127x167cm Acrylic, Oil on canvas
54
地久天長之二 Everlasting II 2007. 127x336cm Acrylic on canvas
凌空幻瀑 Imaginary Waterfall in the Sky 2007. 167x167cm Acrylic on canvas
聖山 Holy Mountain 1995-1996. 158x131cm Oil on canvas
氣貫山河 Penetrate Through the Mountains and Rivers 2001. 141x163cm Acrylic, Oil on canvas
山水靈轉 Spiritedly Landscape 2000. 127.5x168cm Acrylic, Oil on canvas
歷史的印刻 Print of History 2001. 128x168cm Acrylic, Oil on canvas
62
穿雲破霧 Through the Cloud and Mist 1988. 98x256cm Acrylic, Oil on canvas
掠影浮光 Shadow Floating on the Light 1981 . 122x183cm Acrylic, Oil on canvas
皓雪 Luminous Snow 1980. 127x181cm Acrylic, Oil on canvas
飛躍 Beyond 1988. 100x128cm Acrylic, Oil on canvas
雲破日出 Sunrise through the Cloud 1978. 89x126.5cm Acrylic, Oil on canvas
靈動 Soulful 1982. 174x240cm Acrylic, Oil on canvas
堤岸天光 Skylight on Embankment 2007. 167x167cm Acrylic on canvas
73
靈思 Spirited Thought 2000. 167.5x127cm Acrylic, Oil on canvas
鳳凰之翼 Wing of Phoenix 1998. 168x127cm Acrylic, Oil on canvas
76
龍域 Dragon Territory 1994. 173x102cm Acrylic, Oil on canvas
碎銀飛濺 Splashing Silver 1984. 95x125cm Acrylic, Oil on canvas
夢谷 Dream Valley 1987~1993. 102x132cm Acrylic, Oil on canvas
雙璧凝練 Precious Jaspers 2000. 127x168cm Acrylic, Oil on canvas
空谷清音三 Voiceless of the Valley III 2005. 127x168cm Acrylic, Oil on canvas
雲臥碧山 Cloud on the Bluish Green Mountain 1979. 120x110cm Oil on canvas
勁破長空 Break through the Air 1983. 126x127cm Acrylic, Oil on canvas
Above & Beyond 1994. 168x168cm Oil on canvas
弦歌 The Chord 1977. 71.3x56cm Mixed midia
抽象山水 Abstract Landscape 1976. 143.5x107.5cm Oil on canvas © Christie’ s Images Limited 2012
生平 生於北平。父親莊尚嚴，任職北京故宮博物院，為學者及書法家 1934 受父親影響，幼時經常觀覽字畫，養成早年對繪畫興趣，啟蒙老師為劉峨士與黃異二位先生，分別任職北京故宮 1945 進入台灣師範大學美術系就讀 1954 由台灣師範大學畢業，開始個人創作 1957 受邀入台灣重要現代畫會團體「五月畫會」 1958 參加第一屆法國巴黎國際青年藝術展 參加巴西聖保羅國際雙年展 1962 參加香港國際繪畫沙龍展，以畫作「雲影」榮獲金牌獎 1965 參加國泰航空公司主辦之亞洲代表畫家巡迴展，獲台灣區首獎 1966 獲美國洛克非勒亞洲美術基金會贊助，赴美考察世界美術一年。同年轉赴紐約，為著名雕塑家 S. Lipton 之短期助手，了解材質與三度空間的藝術創作 1967 秋天，於美國密西根州之安阿堡市舉行在美國首次個展，作品為克利夫蘭、底特律及密西根大學美術館所收藏 11 月在紐約市諾德內斯畫廊發表一年之創作 受美國匹次堡國際三年展邀請參展 1968 於巴黎半年，遇華人畫家朱德群、趙無極、彭萬墀、熊秉明、夏陽等。五月離巴黎，遊覽西班牙、義大利、瑞士、希臘等國 1972 獲中國畫學會金爵獎。七月赴美國密西根大學專研美術史 遍遊美國及加拿大名山大川，開始長達 14 年之鄉居田園生活 1976 1986 獲美國博爾布來特基金資助返台，受國立藝術學院之邀任客座教授一年 年底發表新作於台北龍門畫廊 1987 11 月受中國美術家協會之邀與王無邪合展於北京中國美術館 受德國漢堡市東西畫廊之邀，首次赴德國展覽 1989 9 月以個展方式參與漢堡國際藝術 Forum 大展 為香港 Century 旅館大廳創作三幅巨型畫作 1990 參加台北市立美術館主辦之「台北─紐約：現代畫之遇合」大展 1991 在美國紐約市之 456 畫廊發表「哈德遜系列」新作，以木材、鐵及其他廢料與畫布摻合，嘗試以三度空間製作 1992 五月於台灣台北市立美術館舉辦大型個展 赴北京中央美院第四工作室講學一個月 1998 為高雄師範大學美術系客座教授一學期 1999 應邀赴加拿大魁北克省 Baie-Saint Paul 國際藝術討論會並展覽 2000 為台灣台北亞洲藝術中心之長期代理藝術家 2005 9 月參展新加坡藝術博覽會 (Art Singapore)，與高行健、李真聯展 10 月受台灣國立歷史博物館邀請，舉辦大型個展「主題•原象」 11 月參展上海藝術博覽會 (Shanghai Art Fair)，與司徒立、楊識宏及李真聯展 於台北亞洲藝術中心舉辦大型個展 2006
88
個展 1965 1967
阿文畫廊，底特律市，密西根州
國立藝術館，台北市
1966 100 畫廊，普林斯頓，紐澤西州
1982 藝術中心畫廊，香港
1968 台灣省立博物館，台北市 1969 美國新聞處畫廊，台中市 聚寶盆畫廊，台北市 弗爾賽畫廊，安阿堡市，密西根州
2007 北京中國美術館「嶺深道遠」個展
第門辛畫廊，東蘭辛市，密西根州
2008 亞洲藝術中心個展「石蒼雲燦」，台北
許氏畫廊，明尼阿波里斯市，明尼蘇達州
2010
大衛•芬里畫廊個展，紐約
2012
亞洲藝術中心個展「統覽•微觀」，台北
龍門畫廊，台北市
弗爾賽畫廊，安阿堡市，密西根州
杜布斯畫廊，休士頓市，德州
藝術家畫廊，台北市
第門辛畫廊，東蘭辛市，密西根州 1985 瓊哈格爾畫廊，沙拉蘇達市，佛羅里達州
紐瓦克市美術館，紐瓦克市，紐澤西州
寧拔斯畫廊，達拉斯市，德州
派迪亞畫廊，洛杉磯市，加州
路易．紐曼畫廊，比佛利山市，加州
孟特克里爾市美術館，孟特克里爾市，紐澤西州 杜布斯畫廊，休士頓市，德州
名門畫廊，台中市 1986 龍門畫廊，台北市 路易．紐曼畫廊，比佛利山市，加州
中國新聞處畫廊成立首展，紐約市 1973 阿爾法畫廊，新加坡 泰德羅畫廊，荷蘭市，密西根州
1987 第格來夫畫廊，芝加哥市 1988 龍門畫廊，台北市 第格來夫畫廊，芝加哥市
弗爾賽畫廊，安阿堡市，密西根州
普來斯頓．波克畫廊，底特律市，密西根州
派迪亞畫廊，洛杉磯市，加州 1974 奧柏林學院亞洲中心，奧柏林學院，俄亥俄州
1989 東西畫廊，漢堡市，德國 當代畫廊，台中市
弗蘭辛．西德斯畫廊，西雅圖，華盛頓州
龍門畫廊，台北市
蕭．雷明頓畫廊，多倫多市，加拿大 1975 聚寶盆畫廊，台北市 弗爾賽畫廊，安阿堡市，密西根州
藝倡畫廊，香港 1990 永漢藝術中心，台北市 龍門畫廊，台北市
泰德羅畫廊，荷蘭市，密西根州 1976 蕭．雷明頓畫廊，多倫多市，加拿大
羅伯啟斯畫廊，伯明罕城，密西根州
1977 弗爾賽畫廊，安阿堡市，密西根州 弗蘭辛．西德斯畫廊，西雅圖，華盛頓州
大維遊畫廊，西雅圖市，華盛頓州 1991 大維．柏納畫廊，密爾窩基市，威斯康辛州 龍門畫廊，台北市
卡拉馬左市美術館，卡拉馬左士，密西根州 蕭．雷明頓畫廊，多倫多市，加拿大
1992 路易紐曼畫廊，比佛利山市，加州
沙門畫廊，柏克萊市，加州
龍門畫廊，台北市
弗里曼畫廊，東蘭辛市，密西根州
台北市立美術館，台北市
塞格諾市美術館，塞格諾市，密西根州 1978 龍門畫廊，台北市
1993
藝倡畫廊，香港
1994 Haeneh-Kent 畫廊，紐約，美國
阿文畫廊，底特律市，密西根州
1996 Horwitch-Newman Gallery Scottsdale，亞利桑那州，美國
蕭．雷明頓畫廊，多倫多市，加拿大
1998 Cork Gallery，林肯中心，紐約，美國
弗里曼畫廊，東蘭辛市，密西根州 1979 弗爾賽畫廊，安阿堡市，密西根州 杜布斯畫廊，休士頓市，德州 弗里曼畫廊，東蘭辛市，密西根州 1980 國立歷史博物館，台北市 龍門畫廊，台北市
「主題•原象」莊喆個展，國立歷史博物館，台北 2006 亞洲藝術中心個展「筆意縱橫•參於造化」，台北
路易紐曼畫廊，比佛利山市，加州
1984 第格萊夫畫廊，芝加哥市
弗蘭辛．西德斯畫廊，西雅圖，華盛頓州
1972 鴻霖畫廊，台北市
藝倡畫廊，香港 2005 「台灣現代藝術：2005 關渡英雄誌」關渡美術館，國立台北藝術大學
朝雅畫廊，高雄市 1983 羅伯啟斯畫廊，柏明罕城，密西根州
1970 弗林特市美術館，弗林特市，密西根州 1971 良士畫廊，台北市
巴黎秋季沙龍台灣特別邀請展
第格萊夫畫廊，芝加哥市
弗爾賽畫廊，安阿堡市，密西根州 諾德內斯畫廊，紐約市
何香凝美術館，深圳，中國
1981 阿瑟．魯本畫廊，海藍公園城，伊利諾州
1999 龍門畫廊，台北，台灣 2000 456 畫廊，中美藝術會，紐約，美國 2001 Han Art Gallery，魁北克省，加拿大 Galerie Madelaine Lacerte，魁北克省，加拿大 2002 「國際華裔畫家抽象藝術展覽」，香港藝術公社 廣州美術館，中國
89
聯展 1958
五月畫展，台北市
1959
巴西聖保羅國際雙年展，聖保羅市，巴西 巴黎國際青年雙年展，巴黎 五月畫展，台北市
1960 五月畫展，台北市 1961
巴西聖保羅國際雙年展，聖保羅市，巴西 五月畫展，台北市
1962
1963
西貢國際美術展，西貢市，越南
1997 「中國根」，上海美術館，中國 1998 「基本元素」， Beatos 畫廊，溫哥華，加拿大
台灣現代畫，雅苑畫廊，香港 五月畫展，多明尼畫廊，雪梨市，澳洲
第二屆上海双年展，上海美術館 第一屆深圳双年展，深圳 1997-99 「亞洲傳承－現代表現」巡迴展，由美國新澤西州 Rutgers 大學主辦。展覽地點包括芝加哥文化中心、費雪畫廊、 南加州州立大學洛杉磯分校、貝福畫廊、狄恩九莎藝術中心、加州核桃溪、高雄市立美術館•台灣、台北立美 術館•台灣及 1999 年於日本的三家美術館 2000 國際藝術座談會特別展覽，Baie-Saint Paul，魁北克省，加拿大
中國現代畫展，羅馬現代美術館，義大利
2001 「抽象表現 : 擴張教規」，Gary Snyder Fine Art，紐約，美國
中國當代畫，荷蘭各大城巡迴展，台北市國立歷史博物館主辦
2002 「東方本質 : 美籍華裔畫家的抽象藝術」，Gary Snyder Fine Art，紐約，美國
中國現代畫，威爾孫學社，普林斯頓大學，普林斯頓
2003 「六十年代台灣繪畫」，台北市立美術館，台灣
亞洲重要畫家展，巡迴日本、台灣、香港各大城，國泰航空公司主辦，獲首獎
2005 「姿態抽象」，天理文化中心，紐約市
1966 五月畫展，台北市
「中國現代繪畫」，明尼蘇達大學美術館
新中國山水傳統，巡迴美國各大美術館（1966-1968），美國藝術協會後援
2006 「第三空間：抽象藝術的中國文本」上海美術館、寧波美術館、北京 798 藝術區，中國
卡內基國際三年展，匹茲堡市，賓州
2008 「沉積 : 新東方精神」，亞洲藝術中心，北京
六畫家，省立博物館，台北市
2010 「新東方精神 II - 承啟」，亞洲藝術中心，北京
中國當代畫，馬德里，西班牙
1970
康城第二屆國際雙年展，康城，法國
1972
拉古納海灘藝術節，拉古納海灘市，加州
1973
巴西聖保羅國際雙年展，聖保羅市，巴西 中國當代畫，奧西卡西美館，奧西卡西市，威斯康辛州 中國當代畫展，波莫那學院，加州
1974
四位中國畫家，鴻霖畫廊，台北市
1975
十位中國代表畫家，都美術館，東京，日本 底特律之源，哥侖布魯克美術學院，布魯明山市，密西根州 三位中國當代畫家，山根市美術館，山根市，科羅拉多州 中國當代畫家展，亞洲基金美術畫廊，舊金山市，加州
1979
1994-95 「東方與西方之間 - 20 世紀末中國藝術的轉變」，Discovery 博物館，Bridgeport，康州，美國
巴西聖保羅國際雙年展，聖保羅市，巴西
1964 五月畫展，台北市
1976
五月畫會紀念展，龍門畫廊，台北市 1992 「兩個意象」- 莊喆與馬浩合展，456 畫廊，紐約市 1996 「墨與紙的質變」，台北畫廊，紐約，美國
現代畫展，東海大學畫廊，台中市
1969
東方及五月畫會三十五年紀念展，時代畫廊，台北市 傳統與創新，五畫家聯展，勝大莊美術館，台北市
香港國際繪畫沙龍，第二屆獲金牌獎
中國前衛畫展，多明尼畫廊，雪梨市，澳洲
1967
國際邀請展，芝加哥畫廊聯合主持，芝加哥 1991 「台北－紐約：現代畫之遇合展」，台北市立美術館，台北市
中國現代畫展，國立歷史博物館，台北市
巴黎國際青年雙年展第二屆，巴黎市
1965
1990 圖型大展，漢堡國際藝術節，漢堡市，德國
中國與日本當代畫展，山峰市美術中心，山峰市，紐澤西州
1981
東方與五月畫會廿五年紀念展，省立博物館，台北市
1982
莊喆、馬浩、陳庭詩三人展，香港藝術中心
1983
中國海外畫家展，台北市立美術館，台北市
1984 中國現代畫，密西根州各大城及大學美術館巡迴展，由底特律美術館亞洲部主辦 中國與希臘當代美術展，盧迪．卡卡西斯畫廊，芝加哥 1986
中國當代畫回顧展，台北市立美術館，台北市
1987
中國美術發展展覽，台灣省立美術館，台中市
1989
當代藝術發展展覽，國立歷史博物館，台北市
公共收藏 國立歷史博物館，台北市 台北市立美術館，台北市 世華銀行，台北市 美國花旗銀行，台北市 美國克利夫蘭美術館，克利夫蘭，俄亥俄州 美國底特律美術館，底特律，密西根州 香港美術館，香港 美國福特汽車公司，底特律，密西根州 美國康乃爾大學美術館，紐約州 美國密西根大學美術館，安阿堡市，密西根州 美國密西根州立大學，東蘭辛，密西根州 美國塞格諾市美術館，塞格諾，密西根州 美國克萊斯勒汽車公司，底特律，密西根州 美國堪塞斯州立大學，勞倫斯，堪塞斯州 萬國商業機器有限公司，台北市 台灣省立科學館，台中市 美國密西根大學校友會館，安阿堡市，密西根州 美國太平洋聯邦銀行 美國戴頓人旅館，戴頓市，俄亥俄州 美國大湖聯邦銀行，安阿堡市，密西根州 美國太平洋儲蓄銀行，爾灣城，加州 美國底特律國家銀行，安阿堡市，密西根州 世紀大酒店，香港 上海美術館，上海 廣東美術館，廣東 中央美院美術館，北京
91
Biography 1934 Born in Beijing. Father, Chuang Shang-Yen, a scholar and calligrapher, worked at the National Palace Museum in Beijing. 1945
In childhood, Chuang Che had a chance to look at calligraphy, which cultivated his interest in paintings. His initial teachers were Liu Yi-Shih and Huang Yi.
1954 Entered the Fine Arts Department at National Taiwan Normal University. 1957
Graduated from National Taiwan Normal University, and continued to create works.
1958
Invited to join the Fifth Moon Group, and took part in the Premiere Biennale de Paris, and the Bienal de Sao Paulo, Brazil.
1962 Took part in the International Painting Salon in Hong Kong, winning the first prize for his oil painting titled Cloud Shadow. 1965
Participated in the traveling exhibit of Asia’s Leading Artists sponsored by Cathy Airlines, won the first prize for the Taiwan area.
1966 Awarded a J.D. Rockefeller III Fund travel grant to study in the United States. Moved to New York and stayed there for almost a year. Was introduced by Kathy Wood of the American Art Association to the well-known sculptor S. Lipton and became his assistant. 1967 First one man show in Ann Arbor, Michigan. His works were collected by the Cleveland Art Museum, the Art Institute of Detroit and the University of Michigan Museum. Exhibited a year’s work at the Nordness Gallery in New York. Invited to participate in the Carnegie International in Pittsburgh 1968 Stayed in Paris for six months where he had a temporary studio. Met the Chinese painters Zao Wu-ki, Chu Teh-Chun, Peng Wan-shi, Hsiung Bin-ming, Yan Hsia. May, left Paris and traveled in Spain, Italy, Switzerland and Greece. 1972
Awarded the Chinese Painting Association Prize. July, went to the University of Michigan to study history of art.
1976
Continued to live for 14 years in the countryside in the United States.
1986 Awarded a Fulbright and returned to Taiwan for one year as a professor at the National Arts College. Exhibited new works at the Lung Men Gallery, Taipei. 1987 November, invited by the Chinese Artists Association to have a one man show with Wang Wu-yen in the Chinese Museum in Beijing. 1989
First exhibit in Hamburg Germany. September, participated in the International Art Forum Exhibit.
1990 Created three large pieces especially for the hall of the Century Hotel, Hong Kong. 1991
Returned to Taipei to participate in the "Taipei - New York" exhibit at the Taipei Fine Arts Museum.
1992 Exhibited new works in the Hudson series at the 456 Gallery in New York. May, Retrospective Exhibit sponsored by the Taipei Fine Arts Museum. 1998 Give lectures to Studio No.4 at the Central Institute of Fine Arts, Beijing. 1999 Invited by National Kaohsiung Normal University, Taiwan as a professor of fine art for one semester. 2000 Invited to participate the International Art Conference in province of Quebec,Canada. 2005 Has been a contracted Artist of Asia Art Center, Taipei. September, exhibited with Gao Xing-jian and Li Chen at Singapore International Art Fair, Singapore. October, Exhibited "Theme: Primal Form - An Exhibition of Chuang Che's Painting, National Museum of History, Taipei. November, exhibited with Szeto Lap, Chihung Yang and Li Chen at Shanghai Art Fair, Shanghai.
92
Solo Exhibitions 1965
National Taiwan Arts Hall, Taipei, Taiwan.
1982
De Graaf Forsythe Gallery, Ann Arbor, Michigan, U.S.A.
1966 Gallery 100, Princeton, New Jersey, U.S.A.
Art Center, Kowloon, Hong Kong.
1967
Lung Men Gallery, Taipei, Taiwan.
Forsythe Gallery, Ann Arbor, Michigan, U.S.A. Lee Nordness Gallery, New York, U.S.A.
1983
2007 Deep Ridge vs. Remote Way, National Art Museum of China, Bejing, China. 2008 Green Rock and Splendid Cloud, Asia Art Center, Taipei, Taiwan.
Robert Kidds Gallery, Birmingham, Michigan, U.S.A.
2010 David Findley Jr. Gallery, New York, U.S.A.
1968 Taiwan Provincial Museum, Taipei, Taiwan.
Louis Newman Gallery, Beverly Hills, California, U.S.A.
2012 Holistic View, Microscopic Vision, Asia Art Center, Taipei, Taiwan.
1969 U.S.I.S Gallery, Taichung, Taiwan.
Demention Gallery, East Lansing, Michigan, U.S.A.
Magic Touch Gallery, Taipei.
Hui Arts, Minneapolis, Minnesota, U.S.A.
1970
Fine Art Museum, Flint, Michigan, U.S.A. Forsythe Gallery, Ann Arbor, Michigan, U.S.A.
Lung Men Gallery, Taipei, Taiwan.
1971
Forsythe Gallery, Ann Arbor, Michigan, U.S.A.
Demention Gallery, East Lansing, Michigan, U.S.A.
Liang’s Gallery, Taipei, Taiwan.
1984 De Graaf Gallery, Chicago, lllinois, U.S.A.
1985
Francine Seders Gallery, Seattle, Washington, U.S.A.
Nimbus Gallery, Dallas, Texas, U.S.A.
Taipei Art Guild Gallery, Taipei. 1972 Newark Art Museum, Newark, New Jersey, U.S.A.
Louis Newman Gallery, Beverly Hills, California, U.S.A. 1986 Lung Men Gallery, Taipei, Taiwan.
Paidea Gallery, Los Angeles, California.
1973
Louis Newman Gallery, Beverley Hills, California, U.S.A.
Montclair Art Museum, Montclair, New Jersey, U.S.A.
1987 De Graaf Gallery, Chicago, Illinois, U.S.A.
Dubose Gallery, Houston, Texas, U.S.A.
1988 Lung Men Gallery, Taipei, Taiwan.
Chinese Culture Center, New York, U.S.A.
De Graaf Gallery, Chicago, Illinois, U.S.A.
Alpha Gallery, Singapore.
Preston Burke Gallery, Detroit, Michigan, U.S.A.
Tadlow Gallery, Holland, Michigan, U.S.A.
1989
Forsythe Gallery, Ann Arbor, Michigan, U.S.A. 1974
Paidea Gallery, Los Angeles, California, U.S.A.
Lung Men Gallery, Taipei, Taiwan. Alisan Art Gallery, Hong Kong. 1990 Yung Han Gallery, Taipei, Taiwan.
Shaw-rimington Gallery, Toronto, Canada.
Lung Men Gallery, Taipei, Taiwan.
Forstythe Gallery, Ann Arbor, Michigan, U.S.A.
Robert Kidds Gallery, Detroit, Michigan, U.S.A.
Magic Touch Gallery, Taipei, Taiwan. Tadlow Gallery, Holland, Michigan, U.S.A.
Davidson Gallery, Seattle, Washington, U.S.A. 1991
Arwin Gallery, Detroit, Michigan, U.S.A. 1976
Shaw-rimington Gallery, Toronto, Canada.
1977 Forsythe Gallery, Ann Arbor, Michigan, U.S.A.
1993
Alice King Gallery, Hong Kong.
1994 Haeneh-Kent Gallery, New York, U.S.A.
Francine Seders Gallery, Seattle, Washington, U.S.A.
1996 Horwitch-Newman Gallery, Scottsdale, U.S.A. 1998 Cork Gallery, Lincoln Center, New York, U.S.A.
Shaw-rimington Gallery, Toronto, Canada.
2000 456 Gallery, New York, U.S.A.
Sather Gate Gallery, Berkeley, California, U.S.A.
2001 Han Art Gallery, Quebec, Canada.
Saginaw Art Museum, Saginaw, Michigan, U.S.A.
Galerie Madelaine Lacerte, Quebec, Canada. 2002 International Exhibition of Abstract Art of Overseas Chinese,
Lung Men Art Gallery, Taipei, Taiwan.
Hong Kong Art Commune.
Arwin Gallery, Detroit, Michigan, U.S.A.
Guangdong Art Museum, China.
Shaw-rimington Gallery, Toronto, Canada.
He XianChine Art Museum, China.
Freeman Gallery, East Lansing, Michigan, U.S.A. 1979 Forstythe Gallery, Ann Arbor, Michigan, U.S.A. Dubose Gallery, Houston, Texas, U.S.A. 1980 National Historical Museum, Taipei, Taiwan. Lung Men Gallery, Taipei, Taiwan. Arwin Gallery, Detroit, Michigan, U.S.A. 1981
David Barnett Gallery, Milwaukee, Wisconsin, U.S.A. Lung Men Gallery, Taipei, Taiwan.
Kalamazoo Institute of Art, Kalamazoo, Michigan, U.S.A.
Freeman Gallery, East Lansing, Michigan, U.S.A. 1978
Galerie Art East/West, Hamburg, Germany. Contemporary Art Gallery, Taichung, Taiwan.
Oberlin College Asian Society, Oberlin College, Ohio, U.S.A. Francine Seders Gallery, Seattle, Washington, U.S.A.
1975
Joan Hodgall Gallery, Sarasota, Florida, U.S.A.
Arthur Rubin Gallery, Highland Park, Illinois, U.S.A.
Special Invitation for Taiwanese Artist at Fall Paris Salon. Alice King Gallery, Hong Kong. 2005 Taiwan Modern Art: 2005 Record of Kuandu Heroes, Kuandu Museum of Fine Art, Taipei National University of the Arts. Primal Form - An Exhibition of Chuang Che’s Painting, National Museum of History, Taipei. 2006 Asia Art Center, Taipei, Taiwan.
93
Group Exhibitions 1958
Fifth Moon Group Exhibition, Taipei, Taiwan.
1989 The Progressional Exhibition of Contemporary Art, National Historical Museum, Taipei, Taiwan.
1959
The Bienal De Sao Paulo, Brazil.
1990 Forum, Hamburg International Art Festival, Hamburg, Germany. International Art Invitation, Chicago, Illinois, U.S.A.
The Premiere Biennale de Paris, Paris, France. Fifth Moon Group Exhibition, Taipei, Taiwan.
1991 Taipei-New York Confrontation of Modernism, Taipei Fine Arts Museum, and Taipei Art Gallery, New York, U.S.A. Fifth Moon and Ton Fan the 35th Anniversary Joint Exhibition, Contemporary Art Gallery, Taipei, Taiwan.
1960 Fifth Moon Group Exhibition, Taipei, Taiwan. 1961
The Bienal De Sao Paulo, Brazil. Fifth Moon Group Exhibition, Taipei, Taiwan.
1992 Two Images - Paintings by Chuang Che and Ma Hao, 456 Gallery, New York, U.S.A. 1994-95 Between East and West - Transformations of Chinese Art in the late Twentieth Century, Discovery Museum, Bridgeport, U.S.A.
1962 First International Art Exhibition, Saigon, Vietnam. Chinese Modern Painting Exhibition, National Historical Museum, Taiwan.
1996 Evolution of Ink and Paper, Taipei Art Gallery, New York, U.S.A.
International Salon of Painting, Hong Kong. (Gold Medal Award).
1997 Root of China, Shanghai Art Museum, China.
1963 The Bienal de Sao Paulo, Brazil.
1998 Fundamental Element, Beatos Gallery, Vancouver, Canada.
The Premiere Biennale de Paris, Paris, France.
The Second Shanghai Biennale, Shanghai Art Museum, China.
Chinese Avant Garde Exhibition, Dominion Gallery, Sydney, Australia.
The First Shenzhen Biennale, China.
Modern Art Exhibition From Taiwan, Chatham Gallery, Hong Kong.
1997-99 Asian Succession - Modern Expression, hosted by Art Museum of the Rutgers University, New Jersey. Exhibition places include Chicago Cultural Center, Fisher Gallery, The University of Southern California, Dean Lesher
1964 Fifth Moon Group Exhibition, Taipei, Taiwan. 1965
Fifth Moon Group Exhibition, Dominion Gallery, Sydney, Australia.
Center of Arts, Walnut Creek, USA, Kaohsiung Fine Art Museum, Taiwan, Taipei Fine Art Museum, Taiwan
Chinese Modern Art Exhibition, galleria Del Palazzo delle Esposizioni, Roma, Italia.
and three Museums in Japan.
Contemporary Chinese Art Exhibition, Laren Zwolle, Gravenhage, Delft, The Netherlands.
2000 Special exhibition of International Art Conference in Baie-Saint-Paul, Quebec, Canada.
Modern Chinese Paintings, Woodrow Wilson Society of Princeton University, New jersey, U.S.A.
2001 Abstract Expression: Enlargement, Gary Snyder Fine Art, New York, U.S.A.
An Exhibition of Paintings by Asia’s leading Artists, organized by Cathy Air Line Co through Asia Countries.
2002 Oriental Essence: The Abstraction of Overseas Chinese Artists, Gary Snyder Fine Art, New York, U.S.A.
1966 Fifth Moon Group Exhibition, Taipei, Taiwan. The New Chinese Landscape, touring Exhibition of Six Chinese Artists in Taiwan and U.S. through leading
2003 Taiwan Paintings in the Sixties, Taipei Fine Art Museum, Taiwan. 2005 Abstraction Gesture, Tenri Cultural Center, New York, U.S.A. China Contemporary Art, University of Minnesota Art Museum, U.S.A.
Museum and Galleries in U.S.(1966-1968). Modern Chinese Painting, M.I.T. Boston, Massachusetts, U.S.A. 1967
2006 The Third Space: Chinese Text of Abstract Art, Shanghai Art Museum, Ningbo Art Museum, Beijing 798 Art District, China.
Carnegie International, Pittsburg, Pennsylvania, U.S.A. 6 Chinese Painters, Provincial Museum, Taipei, Taiwan.
2008 Accumulations - The Spirit of the East, Asia Art Center, Beijing, China.
1969
Pintura China Contemporana, Madrid, Spain.
2010
1970
Bienal Art Festival, California, U.S.A.
1972
Laguna Beach Art Festival, California, U.S.A. Artist from Taiwan and Hong Kong, ASEA Gallery of Contemporary-Asian Arts, San Francisco, U.S.A.
1973
The Bienal de Sao Paulo, Brazil. Contemporary Chinese Paintings, Oshkosh Public Museum, Oshkosh, Wisconsin, U.S.A. Contemporary Chinese Art, The Claremont and Pomona College, California, U.S.A.
1974
Four Chinese Artists, Morrison Gallery, Taipei, Taiwan.
1975
10 Chinese Leading Artists, Metropolitan Museum, Tokyo, Japan.
1976
Source Detroit, Cranbrook Academy of Art Museum, Bloomfield Hills, Michigan, U.S.A. Three Contemporary Artists, Foot Hills Art Center, Golden, Colorado, U.S.A. An Exhibition of Chinese Contemporary Art, Asia Foundation Art Gallery San Francisco, California, U.S.A.
1979 Contemporary Chinese and Japanese Art, Summit Art Center, Summit, N.J.U.S.A. 1981
Fifth Moon and Ton Fan 25th Anniversary Joint Exhibition, Taiwan Provincial Museum, Taipei, Taiwan.
1983
Overseas Chinese Artist, Taipei Fine Arts Museum, Taipei, Taiwan.
1984 Modern Chinese Painters, a tour exhibition organized by Detroit Institute of Art through major museums in Michigan, U.S.A. Contemporary Art-China and Greece, Rodi Karkazis Gallery, Chicago, U.S.A. 1986 A Retrospective Exhibition of Contemporary Chinese Art, Taipei Fine Arts Museum, Taipei, Taiwan. 1987 The Progressional Arts Exhibitions in the Republic of China, Taipei Provincial Art Museum, Taichung, Taiwan.
Spirit of the East II - Bridging, Asia Art Center, Beijing, China.
Public Collections National Museum of History, Taipei, Taiwan. Taipei Fine Arts Museum, Taipei, Taiwan. Cleveland Museum of Art, Cleveland, Ohio, U.S.A. The Detroit Art Museum, Detroit, Michigan, U.S.A Hong Kong Art Museum, Hong Kong. Kresge Art Center, Michigan State University, East Lansing, Michigan, U.S.A. Art Museum, The University of Michigan, Ann Arbor, Michigan, U.S.A. The Spencer Art Museum, The University of Kansas, Lawrence, Kansas, U.S.A. The Alumnus Building, Ann Arbor, Michigan, U.S.A. Taiwan Provincial Science Museum, Taichung, Taiwan. Ford Motor Company, Detroit, Michigan, U.S.A. The Chrysler Corporation, Detroit, Michigan, U.S.A. I.B.M. Co., Taipei, Taiwan. Great Lakes Federal and Savings, Ann Arbor, Michigan, U.S.A. National Bank of Detroit, Ann Arbor, Michigan, U.S.A. Pacific National Bank, Irvine, California, U.S.A. The Daytonian Hotel, Dayton, Ohio, U.S.A. Century Hotel, Hong Kong. Cornell University, Ithaca, New York, U.S.A. Ann Arbor Federal Savings and Loan, Ann Arbor, Michigan, U.S.A. Standard Federal Savings and Loan, Troy, Michigan, U.S.A. Saginaw Art Museum, Saginaw, Michigan, U.S.A. Barton Hills Country Club, Ann Arbor, Michigan, U.S.A. Northern Trust Co., Chicago, Illinois, U.S.A. Tower Plaza, Ann Arbor, Michigan, U.S.A. American Motors, Detroit, Michigan, U.S.A. Armstrong and Associates, Ann Arbor, Michigan, U.S.A. Herman Miller Inc., Ann Arbor, Michigan, U.S.A. Heitman Financial, Ann Arbor, Michigan, U.S.A. Doyle Research Associates, Ann Arbor, Michigan, U.S.A. Capital National Bank, Houston, Texas, U.S.A. First City National Bank, Houston, Texas, U.S.A. Readings and Bates, Houston, Texas, U.S.A. OB-GYN Associates, Houston, Texas, U.S.A. Gregory and Cook, Inc., Houston, Texas, U.S.A. Societe General S.A. Inc., Toronto, Canada Carritos Associates, Torrance, California, U.S.A. D.S. Associates, Encino, California, U.S.A. Imperial Bank, Los Angles, California, U.S.A. Swett and Crawford Co., Dallas, Texas, U.S.A. National Gypsum Co, Dallas, Texas, U.S.A. Shanghai Art Museum, China. Guangdong Art Museum, China. Art Museum of Centra Institute of Fine Arts, China. 95
統覽‧微觀 Holistic View and Microscopic Vision
Printing / P. W. Design and Production
發行人 / 李敦朗 總策劃 / 李宜勳 平面設計 / 許奕雯 文字編輯 / 馬于婷、邱嚴瑾 翻譯 / 馬唯中 承印 / 百威文化印刷股份有限公司
Publication Date / November 2012
出版日期 / 2012 年 11 月
All rights reserved. No part of this publication may be reproduced
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Publisher / Thomas Lee Executive Editor / Steven Lee Designer / Yi Wen Syu Editor / Ma Yuting, Samantha Chiu Translator / Lesley Ma
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