原點．解析—霍剛的東方抽象語法 Contemplating the Original Point — The Oriental Abstract Language of HO Kan by Fritz Lee StudiO

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原點．解析 — 霍剛的東方抽象語法

Contemplating the Original Point — The Oriental Abstract Language of HO Kan

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萬物皆由一個點開始。每個點，都是一個想像的宇宙。

All things start from a single point. Every point is a universe of imagination.

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錄

Contents 目

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序 Forewords 006

霍剛的東方抽象語法

The Oriental Abstract Language of HO Kan 文 / 采泥藝術總經理林清汶 Text / Vincent LIN, Director of Chini Gallery

專文 Essays 008

幾何的詩情 — 霍剛2015新作選

Geometric Poetry — A Selection of HO Kan's New Works in 2015 文 / 藝術史家蕭瓊瑞 Text / HSIAO Chong-Ray, Art historian

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霍剛談霍剛

HO Kan On HO Kan 採訪整理 / 杜綺文 Interview and text by Audrey TU

圖版 Plates 038

源 Origin

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承 Carrying Forward

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展 Development

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啟 Inspiration

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藝術家簡歷 Biography

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圖版索引 Index

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The Oriental Abstract Language of HO Kan Text / Vincent LIN, Director of Chini Gallery

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The ﬁrst time I saw Ho Kan, I was impressed by his brightly vigor and the

unfettered and carefree height with poetically reﬁned and emotionally

energetic way he talked. In fact, I had already known the master's name

expressive images that are both elegant and expansive. Collaborating

for a long time before I actually met him in person. In 1956, Ho and the

with the master, Chini Gallery has presented Contemplating the Original

other seven artists, including Li Yuan-Chia, Wu Hao, Oyan Wenyung, Hsia

Point—The Oriental Abstract Language of HO Kan , which showcases an

Yan, Hsiao Chin, Tommy Chen, Hsiao Ming-Hsien, co-founded Ton Fan

outstanding selection of the artist's new works after 2006. In addition, four

Art Group. They were known for their rebellious and unique artistic style

themes, "Origin," "Carrying Forward," "Development," and "Inspiration,"

and created an impact in the development of Taiwanese modern art.

have been devised to interpret Ho's diversified array of creative work

Because of the force and the reaction were so strong at that time, the

and to explore how each of his painting has an individual style that

media named them "the Eight Great Outlaws," which captured their

responds to one another. His painting contains subtler inner movements

soaring status and uniqueness in the art circle back then.

in a reserved manner and explores the infinite possibilities constructed

Throughout past decades, the Eight Great Outlaws have all run towards

with the essence of painting, pushing the Chinese abstract painting to a

different directions, and each has had his own development and

purer state. At the age of eighty-four, Ho has long entered his silver years.

achievement. Ho quietly chose to settle down in Milan many years ago,

Nevertheless, in the field of abstract creation, he is leading us into the

ﬁnding a serene place in the blessed land of wine and olive oil and fully

future.

devoting his life to his art through exploring the essence of painting. He

As a representative ﬁgure of Chinese abstract art, Ho has always been

was a student of Li Chun-Shan, whose enlightening teaching opened up

welcoming and friendly as an old friend despite his long established

his artistic vision. Since then, he has begun from the "anti-tradition" to free

fame. Whenever he talks about the painting and music he is interested

his painting from the limitation of a region and to achieve the universality

in, a smile radiates on his face. He has often talked about how the works

of art-making. He absorbed the essence of Western classical painting

of the Western masters like Matisse, Picasso, Miró, and Klee were brighter

and restored the structure and lines of Chinese characters and the art

and more light-hearted in their silver years. I personally think that such a

of seal carving into basic formal elements. In between the use of points,

quality could be found in Ho's art and life as well. His artistic creation has

lines, and color blocks, he has created a minimalistic abstract language

similarly grown more candid. "The original mind," "a creative mind," and

that is uniquely his own. Leaving the gloomy and intense atmosphere

"a child-like mind" are all part of Ho's Oriental abstract language as well

of his early paintings behind, Ho's recent works have reached a more

as the gracious demeanor of a master.

霍剛的東方抽象語法文 / 采泥藝術總經理林清汶

第一次見到霍剛的時候，我就對他炯炯有神的朝氣，神采奕奕

別收錄霍剛 2006 年以後的精選新作，並以「源」、「承」、

的談吐印象深刻。其實，在還沒有認識霍剛時，我早已久仰其

「展」、「啟」四個主題，分別代表「源起」、「承繼」、「開

大師名號。1957 年，霍剛與李元佳、吳昊、歐陽文苑、夏陽、

展」與「再啟」來詮釋霍剛作品的多變陣式，其作品如何各具

蕭勤、陳道明、蕭明賢共同組成的「東方畫會」，以極具叛逆

風格，又交互相應，在收斂中蘊含更為細膩的內在動勢，探究

與獨創性的創作風格猶如為台灣美術現代化發展投下一顆震撼

繪畫本質關乎構成的無窮可能，讓華人的抽象繪畫更接近純粹

彈，其力道與迴響之強令當時媒體以「八大響馬」稱之，可見

化的境地。今年 84 歲的霍剛，早已年過古稀，但在抽象創作

其當初縱橫藝壇的昂揚與卓絕。

的領域上，他引領著未來。

數十個年頭過去，昔日八大響馬早已於四方馳騁，各有發展與

作為華人抽象藝術的代表性人物，儘管早已具盛名，霍剛給人

造化。霍剛選擇低調定居米蘭多年，在葡萄酒與橄欖油的聖地

的印象始終是一見如故的親切。只要談到自己有興趣的繪畫、

尋覓一方思古幽情之地，專注地活在他的畫裡，致力於繪畫本

音樂，臉上洋溢著毫不保留的笑意。他常常提到西方大師馬蒂

質的探索。早先師事李仲生的啟蒙，他打開觀看藝術的視野，

斯、畢卡索、米羅、克利，其晚年作品都莫衷一是的越發明亮、

從「反傳統」的角度出發，讓個人的繪畫理念突破地域的限

開朗，我私心以為這些特質也同樣體現在霍剛的創作與人生

制，直抵創作的共性。他大量吸收西方經典繪畫的精華，並將

裡。關於他的創作，其實也越發直率，「初心」、「創心」、「童

中國文字、金石章法的結構與線條還原成基本的造型元素，在

心」是屬於霍剛的東方抽象語法，也是一代大師的風範。

「點」、「線」、「色塊」的轉換，開創專屬霍剛式的極簡抽象語彙。作品從早期的沈鬱濃烈，到近期更具悠揚與自由的高度，畫面凝練如詩般的抒情，簡約與大器兼具。這次「采泥藝術」與霍剛老師合作的「原點 · 解析—霍剛的抽象語法」，特

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Geometric Poetry — A Selection of HO Kan's New Works in 2015 Text / Hsiao Chong-Ray, Art historian

As one of the most representative artists in the modern painting

number three, symbolizing a beginning, a middle, and an end. It also

movement in Taiwan in the 1960s, Ho Kan's artistic career seems to have

represents the Holy Trinity—the Father, the Son and the Holy Spirit—and

only undergone one transformative change. That change took place in

different triads such as body, soul, and spirit as well as man, woman, and

the mid-1960s, in which Ho's mysterious, writhing surrealist style shifted to a

child.

geometric, abstract style that surfaced as tranquil, lonesome, yet poetic.

In Ho's painting, the symbol of △ might be a little bit less complicated;

This new style of his juxtaposed sense and sensibility as well as a profound

however, the construction developed from △ usually suggests a sense

sense of musical movement and philosophical thinking. Since then, Ho

of pulling and moving forces. Examples can be found in Abstract 2015-

has carried on in this style for over six decades. His new paintings in 2015

050 (f.01) and Abstract 2015-052 (f.02). The former one has an equilateral

were mainly created in the same style and context. However, overall,

triangle (white) implicitly comprised by three circles within a right triangle

some variations in form and diversiﬁed colors have been introduced into

(black). The two parts form a resisting relationship between the right

these new works. After a close study, one could categorize them by three

triangle and the equilateral triangle as well as the color black and the

basic elements of △ , □ , and ○ , and the following is my preliminary

color white. The yellow and green in the background actually create a

analysis.

triangular form, echoing and contrasting to the three circles (yellow) in the foreground. Simply put, Ho is an artist that masters using simple forms to create a rich visual presentation.

1. Developing from the shape of △

Upon seeing Abstract 2015-052 for the first time, it seems to portray two tent-like triangles. In fact, the larger one on the left contains three

△ is one of the earliest shapes that appeared in the history of human

horizontal lines that divide the triangle into three different triangles; and the

civilization. It is a symbol of both stability and movement. The Egyptian

smaller triangle on the right seems to be situated on a slope with another

pyramids are the ultimate materialization of the symbol, embodying the

triangle on its top that resembles a ﬂag. The entire composition involves a

inﬁnitely unchanging and constantly uprising faith and power.

resisting dynamics between stability and slant. The colors used are white,

In many ancient civilizations, △ is the male symbol. For example, the

light brick red, light sky blue and dark green, which bring out together

Chinese character " 且 " in ancient Bronze inscriptions is "

a harmonious relationship despite some contrast. The composition is

", which is

also the foundation of the character " 祖 ." △ is also associated with the

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eventually encased in a white frame that counterbalances the slant.

幾何的詩情 — 霍剛 2015 新作選文/ 藝術史家蕭瓊瑞

作為台灣 1960 年代現代繪畫運動中最具代表性的藝術創作者

在霍剛的創作中，△或許沒有那麼複雜的象徵，但從△出發

之一，霍剛的藝術發展幾乎只經歷一次脫胎換骨的變化，那便

的畫面構成，往往具有一種拉扯與力動的意義，如：〈抽象

是在 1960 年代中期，由一種神秘、扭動的超現實畫風，走向

2015-050〉(f.01)、〈抽象 2015-052〉(f.02)。前者在一個斜

靜謐、寂寞，又充滿詩情的幾何式抽象；理性與感性並存，且

邊三角形 ( 黑色 ) 的結構中，內含一個由三個正圓形所暗示的

充滿音樂性的律動與哲思性的深邃。如此風格，超過一甲子，

正三角形 ( 白色 )，兩者形成拉扯，特別是斜邊三角形與正三

2015 年的新作，基本上也是在這個脈絡中；但整體而言，多

角形的對應、黑色與白色的對應；而被當作背景的黃綠，其實

了一些形式上的變化與色彩的多樣性。即使如此，仔細劃分，

也是一些接近三角形的造形，和前方的三個正圓 ( 黃色 )，形

仍可歸納為△、□、○等幾個基本構成。茲簡論析釋如下：

成既呼應又對照的關係。霍剛是一位擅於運用簡單造形創造豐富視覺內涵的藝術家。〈抽象 2015-052〉，初看是類似兩個形如帳篷的三角形。其

一、從△出發的類型：

實，左邊一個較大的三角形，因身上多加了三條切割的橫線，使得其中多了三個大小不同的三角形；而右邊一個似乎在傾斜

△是人類文明中極早出現的圖形，它是一種既穩定又富動力的

坡地上的較小三角形，頂端又插了一支猶如旗幟的三角形。全

象徵；埃及的金字塔是△終極的表現，代表永恆不變卻又不斷

幅在穩定與傾斜中拉扯，而色彩就是白、淺磚紅、淺天藍，和

提昇向上的信仰與力量。

深綠，對比中有協調，外圍再以一個白框框住，讓傾斜重新穩

在許多古文明中，△象徵男性，如中國的「且」字，金文即作，

住。

也是「祖」字的原型。△與數字的 3 往往相通，代表起點、

此外，同樣這件作品，在較大的三角形上，劃出幾條橫線，讓

中點，與終點；同時也是三位一體：聖父、聖靈、聖子，或

這看似帳篷的三角形，更加上了文化的色彩，一如印第安人的

三一組合，如：肉體、靈魂、神靈，或男人、女人、小孩的象徵。

帳篷；但在古代煉金術的符號中，三角形分別代表火、風、水、

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f.01 抽象 2015-050 Abstract 2015-050 92x116cm, 2015

f.02 抽象 2015-052 Abstract 2015-052 97x130cm, 2015

In addition, the horizontal lines on the larger triangle in this painting

background is portrayed in three similar colors of light blue. At the top

also add a cultural quality to this tent-like triangle. Firstly, it reinforces

of the image lies a large arch with a black dot in an elegant and all-

the association with the tent of the Indian tribes. On the other hand,

embracing way, introducing a cosmic image that situated the triangles

in ancient alchemic symbols, triangle signifies the four fundamental

amidst the round sky and the square earth.

elements: △ represents fire; means water; and

symbolizes the wind, that is the air; ▽

is the earth. When the four symbols unite as one, it

is the powerful hexagram,

, which is called "the star of eternity" by the

2. Developing from the shape of ○

Israelis.

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An equilateral triangle symbolizes the male while an inverted one refers

○ is the most primitive and perfect shape among the symbols of human

to the female. The latter is also the foundation of the ancient Chinese

civilization. One finds no beginning and end in a circle, which makes

character, " 帝 " (king), used in terms like " 上帝 " (God), " 陰蒂 " (clitoris),

it different from triangles that have beginnings, middles and ends. ○ is

and " 花蒂 " (the stalk of a ﬂower), which all convey meanings like the

often used to refer to completion, eternity and perfection. In Christianity,

origin life and the beginning of things. In Ho's painting series of △ ,

it symbolizes the unity of man and woman as well as God, the waters

equilateral and inverted triangles are repeatedly used and arranged,

around the planet, and the cycle of life. In Eastern Zen Buddhism,

such as in Abstract 2015-053 (f.03) and Abstract 2015-061 (f.04).

concentric circles signify different stages of perfection of one's spiritual

Abstract 2015-053 presents a gigantic triangle, which is cropped of its

practice. It represents the inner harmony and expansion (or coherence)

tip and folded downwards. Another triangle is created within the shape

of moving from one stage to the next. The concentric sand markings of

and folded upwards. Hence, a main subject that looks like a trapezoid

the well-known "karesanshui," or dry landscape, is a notable example of

is formed, which has a crevice below, a horizontal line above, and a

this.

circular point above the line. The circular point also falls on top of the tip

A good amount of Ho's new paintings in 2015 begins with the shape of ○ ,

of the small triangle, constituting a strong yet implicit axis.

and among these works, two types could be observed. The ﬁrst group shows

In the paintings developed from △ , there are some works that

a symmetrical or a radiating pattern within circles, such as Abstract 2015-

incorporate circles and arches as well. A ﬁne example would be Abstract

054 (f.06), Abstract 2015-058 (f.07), and Abstract 2015-059 (f.08). The other

2015-062 (f.05). In this painting, one right triangle in white is piled above

one reveals an irregular pattern or a spinning momentum within circles, like

another white right triangle. The image is divided into three tiers as the

Abstract 2015-055 (f.09), Abstract 2015-056 (f.10), and Abstract 2015-057 (f.11) .

f.03 抽象 2015-053 Abstract 2015-053 100x100cm, 2015

f.04 抽象 2015-061 Abstract 2015-061 60.5x50cm, 2015

f.05 抽象 2015-062 Abstract 2015-062 60.5x50cm, 2015

代表風，也就是空氣，▽代表水，

較出色者如：〈抽象 2015-062〉(f.05)。這件作品以兩個白色

代表地。四者一旦結合，就成了一個強而有力的六芒星形，

正△堆疊，而將畫面橫向切割成三個部份，分別以類似的淺藍

也就是以色列民族所謂的「永恆之星」。

為底，上方是一個有著黑色圓點的大圓弧，優雅而開闊，有著

地四大元素：△代表火、

正三角形△，象徵男性，倒三角形▽，則是女性的象徵，也是

一種天圓地方而△居中的宇宙意象。

中國古字「帝」的原型，所謂「上帝」、「陰蒂」、「花蒂」，都有生命之源、萬物之始的意涵。在霍剛的△形系列中，也有許多正三角形與倒三角形反覆排列構成的作品，如：〈抽象

二、從○出發的類型：

2015-053〉(f.03)、〈抽象 2015 － 061〉(f.04) 等。〈抽象 2015-053〉是把一個巨大的三角形切去上角後反折，

○是人類符號文明中，最原始卻也最圓滿的形狀。圓形看不出

然後再在其中切開一個三角形，往上回折；如此一來，就成為

起點與終點，因此和△的具有起點、中點、終點的象徵不同；

一個看似為梯形的主體，下有一裂縫，上有一橫線，橫線之上

○往往代表一種圓滿、永恆，與完美。在基督的信仰中，○代

又有一圓點，而圓點正在小三角形的尖頂之上，形成一種強烈

表男性與女性合一的本質，也象徵上帝，或環繞地球的水域，

卻隱藏的中軸線。

乃至生命的循環。而在東方佛教禪宗的理念中，同心圓則象徵

〈抽象 2015-061〉則是在一個四方形中，切割一角，形成一

內心修行臻於完美的不同階段，也是人從一個階段進展到下一

個白色倒三角形，而順著這個白色倒三角形，畫出底下一個內

個階段時心靈上的和諧與擴展 ( 或凝聚 )。有名的「枯山水」

含正圓的等腰三角形，最後則由這個斜邊角度，再決定左方那

中的同心圓沙痕，正是顯例。

個較小的白色倒三角形；只是這個白色倒三角形的兩個正邊，

霍剛 2015 年的新作中，有大批從○出發的創作，而這類作品，

並沒有非常精準地與大倒三角形的正邊完全平行，因此，也就

又可分為兩大類型：一是圓形內部呈顯對稱或放射狀者，如：

在看似對應中，又帶著些許傾斜。

〈抽象 2015-054〉(f.06)、〈抽象 2015-058〉(f.07)，和〈抽

在由△出發的畫面類型，還有一些和圓形或弧形搭配的作品，

象 2015-059〉(f.08) 等；另一類型則是圓形內部呈現不規則或

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f.06 抽象 2015-054 Abstract 2015-054 100x100cm, 2015

f.07 抽象 2015-058 Abstract 2015-058 100x100cm, 2015

The radiating pattern could be seen most clearly in Abstract 2015-054 , in

f.08 抽象 2015-059 Abstract 2015-059 100x100cm, 2015

colors of white, gray, and light gray.

which an apple-green circle in a pink background contains two squares

The other two paintings that have a spinning implication are Abstract

at the center. Yellow rays of light radiate into four directions, and each

2015-056 (f.10) and Abstract 2015-057 (f.11). The former is comprised of

has a purple round dot at the end.

a contrast between red, blue, and green in a light blue background;

Abstract 2015-059 displays two white crosses on the top and at the

and the latter has the entire image in various shades of apple green

bottom of the image, symmetrically corresponding to one another.

while the center of the circle reveals a S-shape in dark blue with some

The blue color on the top and at the bottom responds to the red in the

bright blanks as well as a little subtle redness. These spinning images

middle. The black dot at the center of the circle seems to be crushed

remind the audience the Tai Chi symbol in China and Korea, inviting us to

a little due to the compression of the two white crosses. Red and

contemplate on the formation of life in the universe.

blue as well as black and white form the simplest and strongest color combinations in the painting, and the entire image is backgrounded by a light yellow square.

3. Developing from the shape of □

The symmetry in Abstract 2015-058 is formed by a few squares in a

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diagonal arrangement around the center of a circle. The colors of white,

There is also a large number of paintings developed from the shape of

red, and blue (of the squares) correspond to the color of light green

□ in Ho's new works, including squares and rectangles. Among these

(the rectangles), standing out from the circle in earth yellow and the

paintings, some constructions only use □ , such as Abstract 2015-060

background of a square in grayish green. The powerful contrast in color

(f.12). However, there are more paintings that partly incorporate circles

saturation creates a vivid impression.

or round dots, such as Abstract 2015-051 (f.13), Abstract 2015-085 (f.14),

In terms of irregular patterns within a circle, the representative work is

Abstract 2015-064 (f.15), Abstract 2015-078 (f.16), Abstract 2015-079 (f.17),

Abstract 2015-055 (f.09). In this circle, a part is cut away from the right

and Abstract 2015-081 (f.18). Meanwhile, some also include combinations

side. A part is also cut away from the lower left side. An irregular shape

of circles (round dots) and triangles, like Abstract 2015-068 (f.19), Abstract

that resembles a triangle or a trapezoid extends from the right to outside

2015-074 (f.20), and Abstract 2015-086 (f.21).

of the circumference. The colors used here are mainly red, white and

In short, paintings developed from the shape of □ often seem more orderly

gray, foiled with a background in light apple green. Generally speaking,

and stately in a religious manner; they remind people of the "dul-tson-kyil-khor"

the contrast between red and green is complemented by the analogous

(mandalas of colored powders) of Vajrayana, the Tantric Buddhism in Tibet.

f.09 抽象 2015-055 Abstract 2015-055 100x100cm, 2015

f.10 抽象 2015-056 Abstract 2015-056 100x100cm, 2015

f.11 抽象 2015-057 Abstract 2015-057 100x100cm, 2015

帶著旋轉性者，如：〈抽象 2015-055〉(f.09)、〈抽象 2015-

另兩件帶著旋轉意味的作品，是〈抽象 2015-056〉與〈抽象

056〉(f.10)，和〈抽象 2015-057〉(f.11) 等。

2015-057〉。前者以紅

呈顯放射狀最明顯者，如〈抽象 2015-054〉，是在粉紅底的

色上；後者則全幅均為深淺不一的蘋果綠，圓心部份是呈顯 S

蘋果綠圓形中，圓心以兩個正方形組成，並由此放射出四個方

形的深藍，搭配一些亮眼的空白，以及一點細微的紅。這些旋

向的黃色光束，光束末端則各有一紫色的圓點。

轉的圖形，都讓人容易聯想起中國或韓國的太極圖形，引發觀

〈抽象 2015-059〉則以兩個形成十字的白色帶狀，上下對稱，

者對生命宇宙的生成思考。

藍

綠三色的對比，襯在淺藍的底

上下的藍色，對應中間的紅；而圓心的黑點，因上下白色十字的壓縮，產生一種略被壓扁的意象。紅

藍、黑

白，是這幅

作品最簡明而強烈的色彩對應，全幅再置於一個鵝黃的正方形

三、從□出發的類型：

底色上。〈抽象 2015-058〉的對稱，是以圓心為核心劃開的幾個對角

從□出發，包括正方形和長方形的類型，也占有霍剛新作中的

藍 ( 均為正方 )，外加淺綠 ( 扁方形 )

相當數量。這些作品中，有純粹□的構成，如：〈抽象 2015-

所形成的對應色彩，相對於土黃的正圓與灰綠的正方形底色，

060〉(f.12)；但更多的是局部加入圓形或圓點的組合者，如：

有一種彩度上的強烈落差所形成的鮮明印象。

〈抽象 2015-051〉(f.13)、〈抽象 2015-085〉(f.14) ，及

圓形內部呈現不規則者，以〈抽象 2015-055〉為代表。這個

〈抽象 2015-064〉(f.15)、〈抽象 2015-078〉(f.16)、〈抽象

圓形的內部，是先在右邊切上一角，之後，再在下方又切一角，

2015-079〉(f.17)、〈抽象 2015-081〉(f.18) 等。此外，也有

然後以不規則的類三角形或梯形，由右側伸展出來，甚至超出

同時加入圓形 ( 圓點 ) 和三角形的組合者，如：〈抽象 2015-

圓的外部。色彩上，以紅

068〉(f.19)、〈抽象 2015-074〉(f.20)、〈抽象 2015-086〉(f.21)

線正方形，又是以白

紅

白

灰為主體，再襯以淺蘋果綠的

底色。整體看來，紅與綠的對比色，由白所襯托。

灰

淺灰的類比色

等。總之，以□出發的類型，往往給人一種較規整、莊嚴的宗教性

015

f.12

f.13

f.14

f.12 抽象 2015-060 Abstract 2015-060 60.5x50cm, 2015 f.13 抽象 2015-051 Abstract 2015-051 92x116cm, 2015 f.14 抽象 2015-085 Abstract 2015-085 38x45.5cm, 2015 f.15 抽象 2015-064 Abstract 2015-064 50x60.5cm, 2015 f.16 抽象 2015-078 Abstract 2015-078 45.5x53cm, 2015 f.15

f.16

Mandalas symbolize the Buddhist cosmos, and use squares to represent

matter the colors painted in any manners, or the surfaces created through

the four directions of the universe, or the four worlds in Buddhism most of

any mechanical means, the quintessential thing is 'the life of form' bestowed

the time. Perhaps, Ho does not mean to refer to Buddhist paintings with

by the artist. Therefore, being an abstract painter, one had better be acutely

his use of squares, However, through the structure of squares and circles

aware of the fact that techniques might often easily make him appear to be

as well as the subtle constructions of the four worlds, four edges, and

an artisan instead of an artist."

four entrances (or directions), the artist has unquestionably created a

Li also said that "[...] not only composition and construction are extremely

metaphor for a highly spiritual space.

needed, both need to move in the direction of purification. One must

Ho's construction of using △ , ○ , and □ in his new paintings in 2015

always be strict in applying of materials and techniques to create images. In

show an exuberant creative energy. However, how to sidestep the trap

particular, the techniques that show brushstrokes must have a close relation to

of being taken as "artistic design" when using these constructions tests

the individuality of the artists...that is to say, they must possess characteristic

the profundity of the artist's thinking and cultivation. In an article, titled

power of expression deeply rooted in the individuality of these artists."

"On Abstract Painting," published in 1954 (October Issue, Culture and Art

Monthly ), Li Chun-Shan stated that "the techniques and materials of abstract art are completely free. It does not have a limited range. Nevertheless, no

016

f.17

f.18

f.19

f.17 抽象 2015-079 Abstract 2015-079 53x45.5cm, 2015 f.18 抽象 2015-081 Abstract 2015-081 45.5x53cm, 2015 f.19 抽象 2015-068 Abstract 2015-068 53x45.5cm, 2015 f.20 抽象 2015-074 Abstract 2015-074 27x35cm, 2015 f.21 抽象 2015-086 Abstract 2015-086 45.5x38cm 2015 f.20

f.21

聯想，一如西藏佛教密宗信仰中的壇城沙畫。

不過，不論用任何塗法所塗出來的顏色，或是由任何機械所造

壇城亦稱「曼達」，或「曼陀羅」，是佛教宇宙世界的象徵；

成的表面，都不能缺少作家所賦予的『造型生命』。所以，作

往往以正方形代表宇宙的四個主方向，也就是佛教中的四界。

為一個抽象派畫家所最宜敏感地警戒著的，就是技法上的動輒

霍剛或許無意以此構成來比附於佛教的禪畫，但由這些方圓結

容易陷於工藝化之點。」

構，乃至四界、四邊、四門暗示的構成，無疑即形成極具精神

又說：「 …… 如『構圖』(Composition) 與『構成』

性的空間隱喻。

(Construction) 不但極需要，而且要進一步朝向純粹化的領域

霍剛 2015 年的新作，在△、○，與□的構成中，呈顯他旺盛

發展。即使是材料的使用法、畫面的技法，始終都要要求嚴格，

的創作能量；但這樣的構成，如何避開落入「美術設計」的陷

尤其對於含有筆觸的技法，幾乎希望要有與各作家的體質發生

阱，便考驗著藝術家內在涵養的深度。李仲生曾在 1954 年一

緊湊的關係；…( 也就是說 ) 都必須具備與作家體質攸關的個

篇〈論抽象派繪畫〉(《文藝月刊》10 月號 ) 的文章中提到：「抽

性上的表現力。」

象藝術的技術與材料，完全是自由的，並無一個限制的範圍。

017

Throughout the years, Ho's painting has always emphasized the premise

Ho's mastery of the texture of the image also displays his sketching skills

of "the life of form," which demonstrates his character and individuality.

in modern painting that validate the painterly and artistic qualities of his

Because of such a discipline, it has also fashioned the unique qualities

work, rendering them different from common graphic design.

and charm in his painting. 3.Various shades of color saturation and not just the value of a single hue 1. An obvious warmth of hand-painting rather than mechanical coldness In his works from an early period in Italy, Ho has already largely used First seeing the geometric shapes in Ho's paintings, one might be

neutral colors in pastel tones. One art critic once suggested that "the

tempted to associate his art with the Western geometric abstraction, or

young Ho Kan should add more sunshine to his palette!" (Hsiang Erh, "The

the Cold Abstract. However, after a closer examination of Ho's geometric

Splendid Diversity of Ton Fan Art Group Exhibition")

shapes, one would ďŹ nd that they emit a sense of hand-painted warmth

Judging from Ho's later artistic development, nonetheless, the image

that is neither mechanical nor cold. His art is extremely different from the

of "sunshine" has never been the goal pursued in Ho's paintings. During

Western geometric abstraction.

his six-decade career as an artist, Ho has contrarily constructed a

Even just one simple line might be painted or scraped. Yet, more are

remarkably individual and poetically mysterious quality with his color

indirectly created by covering a plane of color with another. Therefore,

scheme. His colors are not the common, original colors that could be

the original background color surfaces as a line between the two color

found everywhere; they are even not easy to find in ordinary color

planes. His diversiďŹ ed skills create the enriched visual connotations in the

swatches. The colors used in Ho's paintings are usually unique ones

image, giving the audience an infinite space of imagination. Closely

created after multiple times of mixing in his studio. The mixing of colors is

observing his painting, they convey a strong sense of hand-painting that

not simply conducted on the palette, though. More importantly, it is done

rarely employs "the covering of masking tape." The planes, lines, and

on canvas or paper. Therefore, under the surface of one color, another

forms are all painted by hand, which replace the feeling of sharpness

color often slightly comes through, producing a mysterious effect that is

and coldness with a sense of warmth and meaningful depth.

faintly discernable and somewhat rippling, for instance, Abstract 2015-76 (f.22) and Abstract 2015-081 .

2. The rich texture instead of simple surfaces of colors 4.An ingenious combination of colors that defies principles of standard color Because the paintings are hand-painted, the color blocks in the image

scheme

show a lot of brushstrokes, and together with the texture of the canvas under the colors, they have formed abundant texture.

As for his color scheme, Ho adopts an ingenious combination of

The characteristics of hand-painting as well as the texture of brushstrokes

analogous colors and contrasting colors. Generally speaking, he often

enhance the painterly quality of the works and resolve the dilemma

uses analogous colors, especially cool colors, to construct the primary

of being possibly taken as "design." When teaching his students back

part of the image. One often sees two similar colors next to one another

in those years, Li Chun-Shan once reminded his students with a hand-

in these large surfaces of analogous colors. One of the two colors

written note.

often takes in the other color; this is an effect gained from multiple brushing and layering the colors. Moreover, within this analogous color

018

One must possess the skill of sketching. Modern painting still requires basic

structure, the artist often places smaller elements in contrasting colors

skills of modern sketching. In my opinion, modern painting without basic

or achromatic colors, like black and white. These elements could be

sketching skills would become either drawings of images or illustrations. The

circles, triangles or thin lines, and the contrasting colors would create a

only difference lies in that the sketching of modern painting differs from the

prominent, popping, exalting visual perception. The contrasting colors of

sketching of traditional painting. (Li Chun-Shan, "My Painting Philosophy")

the small elements usually become the focal points whereas the large

二、豐富的肌理，而非單純的色面。

由於是以手繪的方式構成畫面，因此在畫面的各個色塊上，留下許多手繪的筆觸，乃至色彩底部畫布的質感，而形成了豐富的肌理。這些具有手感，乃至筆觸方向的肌理，強化了作品本身的繪畫性，而避開了流為「設計」的可能危機。在當年李仲生的教導中，曾以手諭的方式，提醒學生： f.22 抽象 2015-076 Abstract 2015-076 27x35cm, 2015

「要有素描基礎。現代的畫，有現代的素描基礎；我認為現代的畫，如果沒有素描基礎，那麼，不是畫成圖案，便畫到插圖去了。不過，現代繪畫的素描，不同於傳統繪畫的素描罷了。」

霍剛的創作，常年以來，正是在強調「造型生命」的前提下，

( 李仲生〈我的繪畫思想〉)

表現其個人特有的個性與體質，也在這樣的要求下，形塑了他

霍剛對畫面肌理的掌握，也正是霍剛現代繪畫素描基礎的一種

繪畫創作上突出的特點與魅力：

展現，鞏固了作品的繪畫性與藝術性，而非一般的平面設計。

一、濃厚的手感，而非冰冷的機械。

三、多層次的彩度，而非單一色相的明度。

乍見霍剛的作品，看到這些幾何的造型，很容易將他歸類到西

早在旅義初期的作品上，霍剛的色彩便大多偏重粉調的中間

方的幾何抽象，又稱「冷抽」(Cold Abstract) 的系統中；但

色，曾有批評家建議：「年輕的霍剛，應把調色盤裡多摻些陽

仔細觀看霍剛的幾何造型，卻充滿了手感的溫度，一點也不機

光吧！」( 向邇〈東方畫展瑰麗多樣性〉)

械，一點也不冰冷，和西方幾何抽象的「冷抽」，有著極大的

但就霍剛日後藝術的發展而論，「陽光」的意象，並不是霍剛

距離。

作品中企圖訴求的目標。在霍剛長達逾一甲子的創作中，他反

即使是一條線，很可能是畫出來的，也可能是刮出來的，但更

而是建構了一種殊異、且如詩一般的神秘色彩特質。這些色彩，

多的是留出來的。所謂的留，就是用其他的色面加以敷蓋，色

都不是陽光底下所能見到的物象原色，甚至在一般的色票當

面與色面之間，就留出了原來的底色，而形成了線。這種多樣

中，也不易尋得。霍剛畫面中的色彩，往往是在畫室中經過多

的技巧，也就形成畫面豐富的視覺內涵，予人玩味無窮的空間。

次調和後所得到的一種特殊色。而這樣的調和，不只是在調色

在仔細的觀察中，霍剛的作品「手感」十足，似乎很少使用「膠

盤上進行，更重要地，是在畫布或畫紙上進行；因此，往往在

帶遮掩」一類的手法；所謂的面、線、形，似乎都是以手繪的

一個色彩表層下，還隱隱透露出另一底層的色彩，形成一種若

方式達成，因此沒有尖銳、冰冷的感覺，反而是充滿了溫情與

有若無、盪漾晃動的謎樣感受。如：〈抽象 2015-076〉(f.22)、

深沈的內涵。

〈抽象 2015-081〉等。

019

areas in analogous colors contribute to the atmosphere of the whole

as well as the patterns on the eaves tiles of buildings from the Han

images.

Dynasty, Ho also turns them into a source of inspiration and adds them into his later paintings. He once said that in terms of colors, one must

5.Organic combination and construction of forms and colors instead of just

learn from the bronze vessels that "let the all the weight float up, and

filling forms with colors

make the lightness seem incredible heavy!" It is this rhythmic interplay of the lightness and weight that could be associated with the rising and

Colors do not exist alone, and must be taken into consideration together

falling of musical notes. It is a kind of demonstration of cultural tradition

with forms. Ho's forms are always the purest geometric shapes with dots,

and values as well as a representation of a spiritual space.

lines and planes, with which he conducts all kinds of dialogues and compositions of balance and imbalance, symmetry and asymmetry, the

In essence, the new paintings in 2016 have been developed and

geometric and non-geometric, and the lineal and non-lineal.

created with these unique qualities.

With the construction of colors and the construction of forms, Ho's painting surfaces that seemingly resemble works of design are actually artistic creations ﬁlled with a sense of humanistic tendency and spiritual quality. His color constructs the atmosphere while his form fabricates the plot; especially his form, from the directionality of lines, to the sizes of circles, to the arrangement of triangles, they are all highly signifying. Consequently, Ho's painting always seems to beckon at something that is taking place or a mysterious quality suggesting that the painting has something to say. This quality is as musical as it is poetic.

6.A spiritual space that reflects culture rather than a physical surface of formcolor combination

Despite an appearance that might look like the Western geometric abstraction, the profound memory and poetry of the Eastern culture is inhering in Ho's work. Many of his paintings are deeply influenced by Chinese calligraphy and the art of seal carving. Ho's grandfather, Chiu Ai Kung (meaning autumn cliff), was an excellent calligrapher. When Ho's was a child, he often helped his grandfather by tucking the calligraphy paper. He noticed the movement and look of his grandfather when he was writing calligraphy, which sometimes exemplified tremendous momentum and sometimes revealed great cadence. The flow and trace of "chi" (or air) was truly inspiring for him, and paved the way for the smooth movement and rippling rhythm in his paintings afterwards. From the effect of an impression and its mirror image in the art of seal carving to the structural changes of intaglio and relief, they all provide inspiration to his creation of form. Perceiving and assimilating what he has seen in the bronze sacrificial vessels from the Shang Dynasty and Zhou Dynasty

020

四、靈變的色彩搭配，而非制式的配色原理。

時而抑揚頓挫，這種「氣」的流動與落痕，給了他極大的啟示，也成為他日後畫面中流暢、沈潛的律動性。至於金石藝術正反

在色彩的搭配上，霍剛也充分發揮了類比色與對比色的靈活搭

面的效果，乃至陰刻、陽刻的結構變化，都讓他在造型上獲得

配。大體上，他經常將一組類比色尤其是屬於寒色調的類比色，

許多靈感。後期的創作，則再加入一些商周青銅禮器，乃至漢

作為畫面構成的主要架構；而這些較大面積的類比色中，經常

代建築瓦當圖紋的吸納與暗示，化為造型和色彩的靈泉。他曾

可以看見相鄰的兩色，其中一色有著另外一色的存在，這便是

形容：在色彩上，要像青銅器般「重的都浮上來，而最輕的又

色彩多次疊刷所得到的效果。在這樣的類比色架構中，藝術家

無比沈重！」這種輕重交錯的律動，一如音符高低起伏的顫動，

再置入一種對比色或黑白無彩色的小型元素，或是圓形、或是

也是一種文化底蘊的展現、精神空間的呈顯。

三角形、或是細線，於是這些對比色就讓整個畫面，產生一種突顯、跳躍、提振的視覺感受。小型元素的對比色，往往成為

2016 年的新作，基本上，仍是在這樣的特點下，持續性的開

視覺的焦點；但大的類比色，則形成了畫面整體的氛圍。

展與表現。

五、形色的有機組構，而非以色填形的色彩遊戲。

色彩並不能單獨存在，它必須和「形式」共同考量。霍剛的形式，也始終是在一種最單純的幾何造型如點、線、面中，進行各種均衡

不均衡、對稱

不對稱、幾何形

非幾何形、直線

非直線的對話與組構。色的組構加上形的組構，霍剛的繪畫就營造出一種看似設計，其實充滿人文性與精神性的藝術創作。色彩營構氛圍、形式提供情節；尤其在形式當中，線條的方向、圓的大小或三角形的排列，都具有高度示意性的功能。霍剛的作品於是充滿了一種似乎有事正在發生、或顯然有話想要述說的謎樣特質，這種特質正是音樂性的、也是詩的特質。

六、是文化映現的精神空間，而非形色組合的物理平面。

霍剛的作品，看似西方幾何抽象的表面，其實蘊含了東方文化的深沈記憶與詩情。他的許多作品，深受中國書法藝術及金石結構的影響。由於祖父秋崖公擅長書法，他小時候經常幫祖父拉紙，注意到祖父書寫時的動作和神態，見他時而氣勢磅礡、

021

HO Kan On Ho Kan 022

霍剛

談霍

剛

Interview and text by Audrey TU

What are the quintessential elements in your artistic creation? What are the sources of these elements?

The elements in my work include "space," "point," "circle," and "triangle." These elements are inspired by Chinese characters per se instead of the calligraphic art. The art of Chinese calligraphy involves movement, but I rather focus on the form and structure. The "Eight Principles of Yong" (the eight brushstrokes of the Chinese character " 永 ") contains the point, line and plane that Kandinsky talks about, but the expression of Chinese characters is more reserved and subtle. For instance, the "point" in Chinese characters is never a fully round dot. The "point" in the "Eight Principles of Yong" is actually oval. The shape of the point has been changed and exaggerated a little to create a sense of harmony and a relationship to the other brushstrokes. There are also four points in the character " 然 ," but they are all placed in different heights and with various lengths, constituting the character's beautiful form. Each Chinese character possesses its own integral structure; some are in elaborate brushstrokes, and some in simple ones. An example would be " 明 " (bright or brightness), which is consisted of two parts, " 日 " (sun) and " 月 " (moon). The two parts are in different sizes, and the combination creates a nicely corresponding harmony and a firm structure. Another example would be the point on top of the character " 寶 ." It could be written in various ways depending on the writers. Some just do it in a quick manner, and it can be as simple as that. On the other hand, I would study how the writer writes the point, why a twist in the brushstroke, how many degrees the twist is, etc. The length and precision of the twist matters, too. So, I incorporate the spatiality of Chinese characters and my learning of calligraphy into the concept of abstract painting, which individually embodies "image" and "idea." Chinese calligraphy is "symbolic," meaning it is suggestive in a way. For example, if I add an oval circle around both the Chinese characters " 哭 " (cry) and " 笑 " (laugh), they would look like a person crying or smiling. The two characters do not depict human faces, but they are suggestive in that way and give you that feeling. This aspect inﬂuences me a lot. So, Chinese calligraphy affects my artistic creation in a visible way in terms of its structural and symbolic aspects.

Also, the form and sensibility of Chinese antiques, like bronze and porcelain, are aesthetically stimulating for me. I do not study antiques but simply admire them. I appreciate simple, unadorned and peculiar objects. There were some decorative objects in my childhood home in Nanjing, China, such as furniture, candleware, incense burner, and wineware. These simple objects all influenced me in a subtle and undetectable way. Other stuff such as Mexican, Oceanic and African historic tools and objects as well as children's drawings also interest me a lot. They reveal a kind of artistic approach that is closer to our primitive instinct.

024

Is such a preference for the simple and the primitive similar to Gauguin's pursuit?

Gauguin paid more attention to symbolism. He was also more deliberate in making himself different from other painters. I am free, but I am also inﬂuenced by these great masters. From this perspective, I need to get rid of my own baggage, such as the academic preconceptions.

採訪整理 / 杜綺文

Q : 先跟我們談談您在創作中的重

我的作品元素有「空間」、「點」、「圓」、「三角形」。這些是從中國文字吸取的養分，

要元素有哪些？這些元素的靈

不是書法，因為書法裡面有運作，我講的是中國文字的造型、結構。「永字八法」裡面都

感來源為何？

有康丁斯基講的點、線、面，只是中國文字的表現比較含蓄。比方說：中國字的「點」，絕對不是這麼圓的一個點。永字八法的那一「點」，有點橢圓形，但是這個點，形已經誇張、變化了一點，那是為了一種和諧，跟其他的筆畫結構有關係。「雖然」的「然」下面四點也都不一樣，有高有低、有長有短，結構很美。每個字都有它的結構性，有的筆畫多，有的筆畫少。像「明」這個字，一個「日」，一個「月」，他有大有小，但是結合在一起就呼應的很好，結構很嚴謹。像「寶蓋頭」的那個點，你那個點要怎麼點，就各憑本事。有的人大筆一揮就沒啦，就這麼簡單。那我就研究，他為什麼要這樣，為什麼這個要這樣勾，要勾多少度，勾的長短剛好都有關係。所以我從中國字的空間性與書法學習，再融合到抽象的意念之中，也就是「意象」跟「觀念」的表現。我們的書法裡有「象徵性」，是一種暗示性的。像中文的「哭」、「笑」，如果我把字的外面用橢圓形圈起來，就很像一個人在哭、在笑。那也不是一個人臉，但是它就是給你這樣的感覺，是一種暗示，這種影響給我很大，所以「書法」給了我的創作有形的影響，在「結構性」、「象徵性」的層面上。

另外，中國的古文物、銅器、瓷器的造型與感覺，也給我刺激，我不做古物的研究，就是純欣賞。有點古樸、奇異的東西，我都欣賞。我南京老家的有些擺設，例如：傢俱、蠟燭臺上的用具、香爐、酒器、古樸的用具，也都淺移默化的影響我。還有像墨西哥、大洋洲、非洲古人製作的用具，還有兒童畫，接近一種原始本能的創作方式，我也喜歡。

Q : 這種追求古樸、原始的概念，類似高更？

高更也注重象徵。但是他比較刻意，就是要跟人家不同。我是自由的，但是我是受他們大師的影響，那我要去除自己的包袱，比方說：學院派的觀念。

Q : 講到「學院派」，在 1950 年，

主要就是寫生，靜物、石膏像寫生，但是這些東西沒有辦法滿足我，很死板。其實老師並

您進入台北師範學校（今國立

沒有特別限制我們，只是那時候的教學宗旨，就是為了培育老師，所以教材不能太離譜、

台北教育大學）藝術科，當時的學習內容有哪些？

太越軌。那時也不知道這個就叫做學院派，只是心裡覺得「畫畫」好像不是這麼簡單，我

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Speaking about academicism, when you entered the Department of Arts of Taiwan Provincial Normal School (now National Taipei University of Education) in 1950, what did they teach in the school?

They taught primarily outdoor painting, still life painting, plaster sketch, etc. However, these practices did not satisfy me as they were quite rigid and fixed. Truth be told, our teachers did not really limit us in a certain way. However, their teaching objective was to train teachers, so their teaching materials had to be normative and guided. At that time, I did not know this was called the academic. I only felt in my heart that "painting" was not an easy job. I tried to refine myself and to improve faster. So, I would go and see art exhibitions, read art magazines, and attend art-related lectures and speeches. What they taught in school was not difficult for me, so I wanted to find different things and went to study under Li Chun-Shan later.

Could you talk about how you came to learn with Li ChunShan?

I saw his articles about Western arts on newspapers and magazines. From his analysis of painting, I could tell he was into theory and had done much study. Later, I met Oyan Wen-Yung. His young sister was a student at Taipei Second Girls' High School (now Taipei Municipal Zhongshan Girls' High School), and Li Chun-Shan was an art teacher there. Oyan knew Li because of his sister, so I went with him to visit Li. At that time, he had just returned to Taiwan.

Please talk about Li ChunShan's inﬂuence to you.

The major influence was the change in concept, mainly "how to see paintings." The Normal School did not teach such a thing but only sketch and painting. Li simply made conversations with us, and that was his way of teaching. For example, one of his students was experimenting, using thin lines in one painting and thick ones in another. He would then say that an art master such as Picasso would not change every other day. No matter his blue period or the pink period took time to manifest, didn't it? This was precisely a mistake I had made. If he talked about Kandinsky, Klee, and Matisse, we would look for these artists' catalogues and find out how they had painted at a young age and how they had transformed. In later days, whenever I was fond of any artists, I would find their catalogues to study their development. The changes are all interconnected instead of taking place out of the blue.

How did Li Chun-Shan teach you to see?

He would teach us not to limit our attention to one single part and how to ﬁnd the things we looked for. For instance, I want to paint these three objects now (three cups). Naturally, this one is bigger and that one smaller. This is composition. However, Li would teach us to look at the three objects together, which could form a triangle. This approach was different from the sketch lesson we learned in school. In terms of painting portrait, which we focused on poses and proportion, Li did not make a fuss about it. One line over here, and another over there; he focused on the form of the ensemble. He would approach the subject lightly, and then, capture the important form.

Another thing was to look at the bigger, whole picture, the work in its entirety as well as the series of works by an artist. He taught us that looking at paintings could be divided into three stages: the ﬁrst one is to

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求好心切嘛，想要很快的進步，所以會自己去看畫展、看雜誌、聽有關美術的演講，學校教的對我來說並不太難，所以想要找一些不同的東西，後來就去李仲生那邊。

Q : 談談跟李仲生學習的機緣？

我在報紙、雜誌上看到他的文章，看他在講西洋藝術，對於繪畫的分析，我覺得他很重視學理，應該很有研究。後來，我認識了歐陽文苑，她的妹妹在二女中（今「中山女高」）唸書。李仲生那時是二女中的美術老師。歐陽文苑因為妹妹的關係認識了李仲生，我就跟著一起去找李仲生，那時候他才剛回台灣不久。

Q : 李仲生對您有哪些影響？

主要是觀念上的轉型，最重要的就是「如何看畫」。那時候師院不教這種東西，只教我們寫生、畫畫。李仲生就是跟我們聊天，聊天就是教學。比方說，那時候有學生因為在嘗試，一下用細線、一下用粗線。他就會說畢卡索這樣的一位大師，也不會三天兩頭在變。他的藍色時期、粉紅色時期，也是要經過一段時間才演變，是吧。他講的這個例子，我就犯了。例如他要講康丁斯基、克利、馬蒂斯，我們就找了很多這些藝術家的畫冊，看他們年輕時期怎麼畫，為什麼後來這樣轉變。後來，我喜歡哪位藝術家，我就買他的畫冊來看作品怎麼演變，這些都是有關聯性的，不是突然改變的。

Q : 李仲生所教的觀看方式有哪些？

他會教你不要侷限在一個部位去看，怎麼去找你要的東西。比方說，我現在要畫這三個東西（三個杯子），當然這邊比較大，那邊比較小，這是構圖。到了李仲生那裡，就不是這樣看。三個東西要一起看，這是一個三角形，這樣就跟學校教的素描不一樣了。那畫人像，擺姿勢，這樣擺、那樣擺，這個比例 ... 李仲生沒有那麼囉唆，就是這邊一條線，那邊一條線，整個什麼形，先是很輕的，再把重要的形弄出來。

另外，把眼光放大，要看整體，看整張的創作，也要看藝術家一系列的創作。他教我們看畫分成三個階段：第一階段是「欣賞」，第二階段是「研究」，第三階段才是「創作」。第一個階段就是不斷的「看」，看別人的也看自己的。第二階段的「研究」，就會去圖書

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"appreciate," the second to "study," and the third, "create." In the ﬁrst stage, you have to continuously "look" at others' as well as your own works. In the "study" stage, we would go to the library to do research, reading articles by predecessors and the art sections of newspapers, which we could study and better our understanding. The third stage, "create," means to digest and transform what you have observed, studied and learned into your own works.

What were the major changes in your art after you studied under Li Chun-Shan?

It would be "anti-naturalism" and "anti-tradition." My idea of painting began to move towards the direction of "cosmological," and my concept of painting was freed. I preferred to explore and study post-impressionism because the works of Cézanne, Gauguin, and Van Gogh had begun to challenge the tradition. These three artists changed the concept of the entire century to come whereas Picasso and Matisse were still part of this context and did not really inﬂuence the next century. Modernism came from these great masters. Why is Cézanne called "the father of modern painting"? We had studied the reasons. I would say I have conducted a fairly thorough study on the works from Impressionism to the mid-20th century.

After such study, I started looking at a painting in a different light instead of traditional means such as the composition, perspective, anatomy, etc. I would study and appreciate it in terms of the "essence of painting. The reason for that is because perspective and anatomy are all related to the techniques of painting, which should be employed only after a subject is established. However, after the invention of photography, the function of realistic representation in painting has been replaced. Returning to the "essence of painting" to explore the art, I have had a wider range of subjects, an expanded vision, and a large frame of reference. I am able to take in and let go of more things as well as change more things by myself.

Apart from Li Chun-Shan's inﬂuence, you have lived in Milan for a long time. Could you talk about how Western arts have inﬂuenced you?

Although I am an abstract painter, but American abstract expressionism did not influence me a lot; I was rather deeply influenced by European painters. I was quite under the influence of Modigliani. His work embodies a kind of meditation, a human nostalgia that materializes our humanity. It can never be seen in other animal species. He has a relatively reserved style. It is not explicitly expressive but contains an inner, spiritual artist quality. For example, all his human figures are painted without pupils; it represents meditation, a kind of thinking, which I find similar to Chinese Buddha statues. It shows that he has been influenced by the East. The gigantic Buddha statues in China all have half-closed and half-open eyes. Of course, there are religious statues with wide-open eyes, like Zhang Fei and Guan Yu, but the ones with high spiritual attainment have the half-closed eyes. This is exactly the Eastern element, one of the origin of Eastern spirituality. It carries more wisdom, it is mysterious, and it embodies a kind of "peculiar beauty." In fact, nowadays, I think the East and West are mutually influencing, and the world is one large family

028

館找資料，還有前輩寫的文章，報紙的藝術版介紹等等，來做研究了解。第三階段的「創作」就是把自己觀察研究所學習的內容，變成自己的創作。

Q : 跟李仲生學習前後，最大的改變是什麼？

就是「反自然主義」、「反傳統」，對於繪畫的創作理念朝向「世界性」的方向發展，觀念被打開了。我比較偏向後印象主義的探索與研究，因為這個時期以後的作品，就是塞尚、高更、梵谷，開始反傳統。這三位藝術家改變一個世紀的觀念，畢卡索、馬蒂斯還是在這個脈絡下，他們並沒有影響下一個世紀。現代主義的發源就是來自這三位大師，為什麼塞尚是「現代繪畫之父」？我們就去研究個所以然。我對印象派以後到二十世紀中期這個階段的作品，研究的比較透徹。

經過這些研究，我就會採用不同的看法來看一幅畫。不是用傳統的方法來看畫，例如：構圖、透視、解剖學，不用這些，而是朝「繪畫本質」的方向來研究與欣賞。因為透視、解剖學，都是手法，你有了主題再用這些方式來呈現。但是攝影發明之後，繪畫的寫實功能就被取代了。回到「繪畫本質」來探索繪畫，題材方面開拓了，視野也開拓了，可以參照的東西也多，取捨的東西也多，自己可以改變的東西也更多了。

Q : 除了李仲生的影響外，您在米

雖然我是做抽象的，但是美國的抽象表現主義沒有影響我很深，歐洲的藝術影響比較深。

蘭也待了很長一段時間，談談

像莫迪尼亞尼對我的影響就蠻大的，他的作品透露著一種冥想，一種對人類的鄉愁，表現

外國藝術給自己的影響？

人性，這是其他動物沒有辦法取代的。他的風格含蓄，不那麼暴露的表現，有內在，有精神性的藝術家本質。例如，他的人物像都沒有眼珠，就是一種冥想，一種思維。我覺得跟中國的佛像類似，受東方的影響。中國的大佛都是半睜半閉，當然也是有眼睛睜得很大的，像張飛、關公呀。其他道行很高的，他就是半睜半閉，這個就是東方的元素，東方精神的來源之一，比較智慧的、玄妙的，這也是一種奇異美。其實，我覺得現在東西方都相互影響，世界一家。那像「西方超現實主義」的思維與想法，也給我靈感。超現實作品中有一種「奇異美」、「奇異的現象」給我靈感，這種不同時空的組合形式，也影響我。

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actually. On the other hand, the philosophy and ideas of Surrealism are also inspiring for me. There is also that "peculiar beauty" or "peculiar phenomenon" in the Surrealist works. Their combination of different time and space affect me as well.

Your work was predominantly surrealist before you went to Milan. After you moved to Milan, why did you shift to an abstract style?

After I went to Europe, I saw a lot of really good and nicely painted works by Surrealist artists. I did not think I could outdo them, so I changed the course of my art. I decided I would bring in Chinese elements and create art that showed my own personality, distinctively different from others. We received Chinese education and concepts. It would not work if you abandoned them all and directly adopted the Western ideas. You could overthrow the things that no longer made sense, but you also need to preserve some things. For instance, the "lines" in Chinese painting are unique and incomparable, so is our ink painting. Therefore, the "element of calligraphy" in my work exempliďŹ es the spirit of ancient Chinese culture. I pay attention to "space," which is also an Eastern element. So is "simplicity and elegance." However, I admit that I have not handled the last very well because I have a bright and hearty personality. It can be seen in my use of colors, which tends to be brighter and clearer, bordering on the colors used in Fauvism rather than being very strong and intense as those industrial colors.

As a matter of fact, if you pay close attention to my earlier Surrealist painting, you would already see geometric shapes. What I do now is that I take out and use the geometric shapes to pursue the image. The image is mysterious; it surfaces in my painting through the working of the subconscious. As for the intentionally heavier or lighter touch, it reveals my emotion and psychological perception. The image is a world of my own.

You have mentioned in different places that music inďŹ&#x201A;uences your art making. How do you convert the audio experience into the visual expression? Could you please elaborate on that?

The vocabulary of music is melody, counterpoint, proportion, harmony, length, and strength. They

How do you usually start a painting?

I usually do a lot of random sketching to ďŹ nd my inspiration. Whenever I have a good image, I keep it

could all be found in my painting. Arts are interrelated. For example, only the conductor would know the musical ensemble, the sounds of the string and wind instruments, their volumes, parts to stress in the music, etc. That is why the conductor must have a profound understanding of the music to perform well. Painting is the same. You must understand the structure to know when to paint a point, how large the point should be, and what it does in the painting.

and revise it repeatedly. Then, I compare these revisions to see which ones have more potentials and how large they should be. Afterwards, I would draw a rough sketch, decide on the colors, and start painting it in oil colors. It is generally like that.

It depends. Some take months, and some years. I just leave the painting there, and finish it when I

030

Q : 您在去米蘭前的創作，是以

去了歐洲之後，看到很多藝術家畫超現實主義的作品，畫的很好，我認為畫不贏他們，我

「超現實主義」為主。到了米

就改變方向了。我認為要走中國的方向。創作有要自己的個性，跟別人不一樣。那我們是

蘭之後，如何轉變到「抽象風格」？

受中國的教育、觀念，你要全部放棄，改成西洋的東西，這是不行的。不合理的東西要推翻，有些東西要保留。例如：中國的「線條」是別人無法比的，「水墨」也是，所以我作品裡的「書法性」，也是中國古文化的精神。我注重「空間」的處理，這也是東方的內涵。「淡雅」也是，但是這部分，我沒有做的這麼好，因為我的個性比較爽朗，所以我的用色就會比較明朗、清爽，接近野獸派的顏色，而不是像工業顏料那樣的強烈、刺激。

其實我以前的超現實作品，你仔細看，裡面有幾何的形狀了，我現在就是把幾何形抽出來，追求意象，那個意象是神祕性，潛意識自然在我的畫裡面發揮出來。我故意重一點，或是故意輕一點，就是表現我自己的情緒與心理感受，是一個屬於我自己的世界。

Q : 您曾經在多次提到音樂對您創

音樂的語言就是透過旋律、對位、和聲、比例、長短、強弱等來表現，這些都跟我的畫有

作的影響？如何將聽覺轉成視

關，藝術是相通的。比方說，你整個和聲，弦樂器、管樂器的聲音，哪個大、那個小，什

覺？可以再跟我們多談談這個部分嗎？

麼地方要突出，那只有指揮才會知道，所以指揮要非常懂曲式的，才能夠這樣。那畫畫也一樣，什麼時候要畫這一「點」，「點」的大小，在這個畫裡面要怎麼發揮作用的，你就要對結構很了解。

Q : 您通常畫一張作品，是怎麼開始的？

我平常會畫很多素描，都是隨便亂畫的，來找我的靈感，然後有好的形象我就留下來，反覆的修改，然後再比較一下，哪些有可能性，要畫大畫還是小畫，然後我就起一個大概的稿子，再看用什麼顏色，就是一個大概的樣子，再開始畫油畫。

Q : 通常完成一件作品的時間？

不一定。有的幾個月，有的好幾年，我就放在哪邊，有靈感了我就把它畫完。藝術不是 2+2=4，不是規律性的。我是看當時的情緒，繪畫的效果不能再增、不能再減了，就是畫完了，要看每張作品的狀況。

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have an inspiration. Art is not a precise mathematical equation as in two plus two equals four, neither is regular. I would judge my feelings at that moment. If the effect of the painting could not be increased or decreased, it has reached its destination. Every painting depends on the situation of the time.

The lines in your painting seem to suggest a sense of hand-drawing?

Yes, it is because when I am painting, the use of force creates light or heavy touches as well as fast or

What does the points signify in your work?

A "point" is a space, a symbol. The "point" itself carries meanings and occupies a spot in the space,

slow paces. It is adjusted according to what the painting requires.

inducing an association in the mind of the viewer. Association is a very mysterious thing. Sometimes, I just paint spontaneously, and add the point at last. This also implies the Chinese influence. It is kind of like "the finishing touch" or "the single red flower in the green foliage." Truth be told, it is simply giving yourself a blank space to work on. To give you an example, painting a point at this spot is like digging a well. Nowadays, people no longer need a well to get water. It might be like I dig a pond to keep fish. It all depends on where I want to place the pond. It is actually a living space, and I arrange my forms, compositions, symbols, and points in this space, a kind of spiritual arrangement, an arrangement of life. It is not done in a deliberate manner. It is rather a spontaneous arrangement, a "purposeless purpose." It relies on the "spiritual density" that requires a compact unity of the colors, lines and compositions. However, the most essential thing in abstract painting is still the "intuitive sense of beauty," meaning the intuitive perception.

What are your principle and idea of using colors?

I usually use contrasting colors. Some of them are mixed by myself. I would apply the same colors for many times, namely the technique of ﬂat color application. This is also an Eastern method. My earlier works have thicker coloring, giving viewers a sense of heaviness. The coloring now is thinner, lighter and brighter. I am more relaxed now, always maintaining a calm and carefree mood. Colors inﬂuence each other. It has something to do with one's personality. I used to be more rigid and uptight, but I am freer now. Sometimes I do not care about being really neat and tidy. I focus more on the ensemble effect.

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Your work is composed of points, lines, planes and blocks of colors. However, the texture of the composition is as rational as it is warm, fun, and playful. There is a kind of "perception" or something invisible taking place in the work, which sets it apart from Kandinsky's rationalism. Could you talk about this?

Basically, my creation is to give imagination a space. It is a natural expression of the subconscious. I focus on developing the essence of painting, the essence of art to be exact. This is also the meaning of life. I do not simply see the painting itself but the animals, plants, and minerals. As long as there is material, there is life. It is inﬁnite. Animals do not have thoughts, but they are living existences. Every life form has a different explanation, which leads to a discussion of the whole universe. Actually, you cannot see the universe; it is invisible, intangible, imaginary. We are not concerned with the universe of the scientists. Artists' universe of is created out of imagination. My work is to continuously explore, discover, and search. It is a bit intellectual and philosophical, but it is also embedded with my feelings.

Q : 作品中的線條表現，看似有一

對，因為我在畫的時候，會有輕重、有快慢，有著力道的使用，根據繪畫的需要去調整。

種手感的感覺？

Q : 在您的作品中，「點」的意義？

「點」就是一個空間，一個符號。「點」本身就是意義，在空間佔據一個位置，使看他的人產生一個聯想，聯想一種玄妙的東西。有時候是很隨意的畫，最後再上那個點，這也有點中國的影響，就像是「畫龍點睛」、「萬綠叢中一點紅」。其實，就是給自己一塊空地去經營，比方說：我這裡要上個點，我這裡要打一口井，現在不需要打一口井來打水了，而是弄個水池來養魚，看安排在什麼位置。其實就是個生活的空間。我就是在這個空間，安排我的形、構成、符號、點，是一種精神的安排、生活的安排。這不是刻意的，而是一種隨性的安排，是一種「無目的的目的」，很講究「精神的密度」，就是畫的顏色、線條、構成很緊湊。不過，抽象最重要的還是強調一種「直覺式的美感」，就是直觀的感受。

Q : 顏色的使用原則與概念？

顏色上，我多半用對比色，有些顏色都是自己調出來的。同樣的顏色我會上很多次，就是「平塗」的技巧，這也是東方的方式。早期的作品顏色上的比較厚，感覺比較沈重。現在的顏色上的比較薄，比較輕快，比較明朗。我現在比較放鬆，心情要舒暢。色與色相互影響，跟你的個性有關係。我以前比較拘謹，我現在比較自由，有時候沒有那麼整齊，我也不講究，我講求的是一個整體效果。

Q : 您的作品是一種點、線、面與

我的創作就是賦予想像的空間，一種在淺意識裡面的表現，很自然地釋放出來。我是專注

色塊的構成，但是您的構成質

在繪畫本質上的發展，就是藝術的本質，這也是人生的意義，我不只是看到畫本身，還看

地，卻是在理性中感覺到溫暖、趣味、與俏皮，有一種「感

到動物、植物、礦物。只要有物，就有生命的存在，那是無限的。動物是不思維的，但是

受性」或是看不見的東西在作

它就是一個生命存在，每個生命的解釋都不相同，這個就會談到整個宇宙。其實宇宙是看

品中發生，跟康丁斯基的絕對

不見、摸不著的，是想像的。科學家的宇宙跟我們沒有關係，藝術家的宇宙是憑想像的。

理性不太一樣，可否談談這個部分？

那我的作品就是不斷的在探索、發現、尋覓，帶點知性，有一點哲理，也有我自己的感受在其中。

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Are the elements in your work becoming less complicated and simpler? What inspired you to move toward this direction?

It is similar to the process of wine making. Wine needs to go through the filtering, fermenting, and reďŹ ning procedures. It needs time, space, and human efforts. You cannot will it into the way you want, nor can you force it. Otherwise, you would kill it and make it stiff. You cannot be too casual because that would lack seriousness. The form, composition, artistic mood of the work all depend on a good balance between being deliberate and unintentional as well as experimenting and being creative in a spontaneous way that is not too casual. The point is to "paint lively paintings," "paint paintings lively," and "live as you paint." When you looked at my sketches, you could still see some forms. There were already some geometric shapes in them. When I paint now, I remove a lot of elements and only keep the purest ones, only the image.

How are your works after 2010 different from the earlier works?

There are some differences. My early works are more complicated and elaborate, so I actually consider my present works better. After eliminating a lot of unnecessary things, they have become simpler. My old works were inconsistent as I was still experimenting. Now I am expressing. My works in the past were weaker, but my works now have my own style. In the past, I was careless and I did not care if a point was added or not. Therefore, it would not matter if one point was to be added or removed from my earlier works. However, you could immediately tell if one point is added or taken out in my works now because they are simpler, more compact, reserved and characteristic of my style.

I do not consider texture very important now. Like building a house, I used to pay attention to small things, like tiles. Now I do not do that anymore. I focus on bigger things and space. That is enough. The rest is not redundant, though. I just do not feel necessary to emphasize on the details. It is similar to women picking clothes. You like those patterns and designs, and some people just like the colors and how they match on them without paying more attention to patterns and details. So, I try my best to reduce the texture, and I might have some "occasional fun" sometimes.

In your artistic career that is over six decades, what is the essence of artistic creation you have been insisting on?

I want to be simple, which is different from being simplistic. My so-called simple is similar to drinking good wine, in which the quality outweighs the quantity. Later, I might paint similar paintings, but instead of imitating other artists, I imitate myself with slight variations to make them look more smooth. When I paint, I think about the entirety and even things outside the entirety of the painting, breaking the space of the image and connecting to the imaginative space. Each painting is like a world in its own. In some foreign museums, they might put only one work on a single wall, and that work itself manifests a single universe.

No matter how old I get, my mind remains young. This is also inďŹ&#x201A;uenced by the Western masters. When I look at Matisse, Picasso, and MirĂł, they all lived a long life; their works became brighter and lighter in their silver years, which reminded me of children's drawing. They painted without any burden, very

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Q : 作品元素有化繁為簡的趨勢？概念從何而來？

這就像釀酒的過程，酒要經過過濾、醞釀、提煉，需要時間、空間與努力。不能太刻意的，也不能太認真的，因為這樣就死板了。也不能太隨意，就變成隨便。作品的造型、構成、意境，都在經意或不經意，隨性但不隨便的去嘗試、活用，就是要「畫活畫」、「活畫畫」、「畫畫活」。你看我的一些手稿，還有些形，但當時就有些幾何形象蘊含於其中。現在創作就是把很多元素都拿掉了，就是把最純粹的留著，只剩下畫面。

Q : 2010 年後的作品，跟過去有什麼差別？

有一些轉變，以前的東西比較繁瑣，所以我覺得我現在的創作比較好，我淘汰了很多不必要的東西，作品比較單純。我以前的東西還不太穩定，還在探索，現在是在表現。以前的自己不太強，現在的作品比較有我自己的風格。過去就會馬馬虎虎，多一點少一點無所謂。所以，以前的畫，多一點少一點也沒什麼關係。我現在的畫，多一點少一點馬上就可以看出來了，因為現在的作品比較單純、比較緊湊、比較內斂、比較有自己。

現在我也認為肌理不是特別重要。就像蓋房子，以前我會去注意瓷磚、小的地方，現在我不注意了，我會注意更大的環節、更多的空間，這樣就夠了，其他的也不是說多餘，只是我沒有那個必要去強調細微。這跟你們女人穿衣服一樣，你喜歡那些花紋，喜歡設計，有些人就只要是色彩喜歡，穿在身上相配，不會重視過多的花紋、細節。所以我的肌理就是儘量「減」，有時候還會有些「偶然的趣味」。

Q : 創作六十多年，您所一直堅持的創作本質？

我是想單純。單純不是簡單，所謂的單純就像喝個好酒，在精不在多。以後，我可能會畫類似的畫，但是不是抄人家的，而是抄我自己的，就是稍微改變一下，看起來更舒暢。我在作畫是考量「整體性」的，甚至於整體以外，就是突破畫面的空間，聯繫到想像的空間，每一件作品就是一個世界。在國外有的美術館，一面牆上就只放一件作品，一件作品就是一個世界。

不管活到幾歲，我的心地都很年輕，這也是我受到西方大師的影響，我看馬蒂斯、畢卡索、米羅，這幾個都是長壽的，他們的作品越到晚年越明朗，越近乎兒童，而且沒有包袱，非常直率、非常開朗、非常明亮。我喜歡痛快淋漓、乾乾淨淨的。但是現在社會沒有那麼單

035

candid, broad-minded, and bright. I like being straightforward and uninhibited as well as clear and clean. However, our society today is not that simple but rather complicated. Things like weddings, funerals, festivals and holidays are all burdening tasks. I only go with the ﬂow now without taking these things too seriously. Only in this way could I concentrate on my own study.

Nevertheless, artistic creation cannot go with the ﬂow. It has to be exact. On top of that, it needs to be natural and spontaneous without being too casual. You cannot obtain this easily and freely. When I go to art exhibitions and listen to music, I absorb and learn things that suit me. Then, I turn them into my own creation. This reminds me of Picasso. When he was eating, he saw a ﬁsh bone that was beautiful to him. So, he burned it (rubbing) and turned it into his own work. This is a mean. It differs from a purpose. I paint without paying much attention to purposes, but means are very important. My artistic creation has an idea and a direction, but it does not have a precise purpose. I simply follow an idea and continue this study. Yet, I do not use whatever means possible, but choose suitable ones to develop my work. Therefore, my painting does not project a possible outcome.

Have you ever had any barriers in making art? How did you break through them? What is the current state of your artistic career and your state of mind in art making?

The answer would be positive. When I do not feel inspired, I just leave the painting as it is and stop looking at it. I listen to music, watch movies, and paint again when I feel inspired. Sometimes, when I look at a painting after a few months, I could complete it with just a few small revisions, which I could not think of previously. So, you cannot force it in art.

I would say that the present stage, the recent two or three years, is the height of my career. My artistic creation is very peaceful now. It reﬂects my state of mind. Now that I have Xiao Wan (Ho's wife) helping me in life, I could concentrate on painting.

036

純，很複雜，比方生活中的應酬、婚喪喜慶、逢年過節，節目很多，都是包袱。現在我就順其自然，不把這個事情看得特別嚴重，才能專心在我自己的研究。

但是，創作不能順其自然，創作要嚴謹，且求隨緣、隨性，但不是隨便，這種也不是隨隨便便就來的，我平常看的畫展、聽的音樂，我就會吸收，適合自己的東西，然後變成自己的創作。這就很像畢卡索，他在吃飯的時候，看到魚骨頭，他覺得很美，就把它拿去燒了（拓印），變成自己的創作，這就是手段。手段跟目的不同。我畫畫不是重視目的，但是手段很重要。我的創作是有想法，有一個方向，但是沒有準確的目的。我就是照想法去研究，也不會不擇手段，而是有選擇性的，來發展我創作的運行，所以我的畫畫不會預計一個結果。

Q : 創作生涯中，有沒有遇到瓶

有的，我畫不出來就先放在哪裡，先不看，我就聽音樂、看電影，有靈感我就再畫。有時

頸？如何突破？現階段的創作

候過幾個月再拿出來看，就這樣改一下就好了，但是我那個時候就想不出來。所以藝術不

狀態與心境？

能勉強。

我覺得現在就是我的高峰，最近兩三年。我現在的創作很平靜，是一個心境。現在有小萬（霍剛妻子）幫忙我，就可以專心畫畫。

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Origin Carrying Forward Development Inspiration

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Origin

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源「點」就是一個空間，一個符號。「點」本身就是意義，在空間佔據一個位置，使看他的人產生一個聯想，聯想一種玄妙的東西。有時候是很隨意的畫，最後再上那個點，就像是「畫龍點睛」、「萬綠叢中一點紅」。

— 藝術家霍剛

Origin A "point" is a space, a symbol. The "point" itself carries meanings and occupies a spot in the space, inducing an association in the mind of the viewer. Association is a very mysterious thing. Sometimes, I just paint spontaneously, and add the point at last. It is kind of like "the ﬁnishing touch" or "the single red ﬂower in the green foliage.” — HO Kan, Artist

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抽象 2015-057 Abstract 2015-057 100x100cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-005 Abstract 2015-005 130x195cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-080 Abstract 2015-080 72.5x91cm, 油彩、畫布 Oil on canvas, 2015

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源起之 13 Origin 13 91x72.5cm, 油彩、畫布 Oil on canvas, 2010

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抽象 2015-056 Abstract 2015-056 100x100cm, 油彩、畫布 Oil on canvas, 2015

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源起之 24 Origin 24 50x50cm, 油彩、畫布 Oil on canvas, 2010

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抽象 2015-079 Abstract 2015-079 53x45.5cm, 油彩、畫布 Oil on canvas, 2015

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線形之 2 Linear 2 70x50cm, 油彩、畫布 Oil on canvas, 2013

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隨想 Improvisation 50x70cm, 油彩、畫布 Oil on canvas, 2007

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抽象 2014-010 Abstract 2014-010 46x53cm, 油彩、畫布 Oil on canvas, 2014

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抽象 2013-005 Abstract 2013-005 50x70cm, 油彩、畫布 Oil on canvas, 2013

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抽象 2013-004 Abstract 2013-004 46x53cm, 油彩、畫布 Oil on canvas, 2013

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源起之 16 Origin 16 72.5x91cm, 油彩、畫布 Oil on canvas, 2010

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乾坤 1-2-3 Universe 1-2-3 200x100cm(x3), 2013 油彩、畫布 Oil on canvas

承合之 3 Continuity 3 100x200cm(x2), 油彩、畫布 Oil on canvas, 2011

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抽象 2016-001 Abstract 2016-001 97x163cm, 油彩、畫布 Oil on canvas, 2016

Carrying

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Forward

承從七○年代的作品表現迄今，（霍剛）畫中常見對稱性與突發性現身的點、短直線交替展現，有時線與塊面凝住對峙，閃爍的小點線一觸即發，激擾平靜寂浩瀚的畫面，卻又可發現這些靈活的小符號是拆卸了書法線條的重組樂章。

— 藝術家、策展人劉永仁

Carrying Forward Hoʼs artworks present symmetry as well as points and short, straight lines painted in a spontaneous and alternating manner. Sometimes the lines and the color blocks manifest a still confrontation as the gleaming points activate the dynamics in the tranquil, inﬁnite images. Then, we also realize that these small, lively symbols have been the lines of calligraphy, taken apart to compose a new music movement. — LIU Yung-Jen, Artist and Curator

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心象之 2 Mindscape 2 60.5x50cm, 油彩、畫布 Oil on canvas, 2013

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抽象 2015-052 Abstract 2015-052 97x130cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-061 Abstract 2015-061 60.5x50cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-062 Abstract 2015-062 60.5x50cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-066 Abstract 2015-066 50x60.5cm, 油彩、畫布 Oil on canvas, 2015

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源起之 4 Origin 4 60.5x72.5cm, 油彩、畫布 Oil on canvas, 2006

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抽象 2015-070 Abstract 2015-070 31.5x41cm, 油彩、畫布 Oil on canvas, 2015

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象形之 3 Pictograph 3 40x50cm, 油彩、畫布 Oil on canvas, 2008

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開展之 2 Development 2 135x135cm, 油彩、畫布 Oil on canvas, 2009

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抽象 2015-007 Abstract 2015-007 72x90cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-008 Abstract 2015-008 72x90cm, 油彩、畫布 Oil on canvas, 2015

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開展之 17 Development 17 72.5x60.5cm, 油彩、畫布 Oil on canvas, 2009

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源起之 17 Origin 17 91x72cm, 油彩、畫布 Oil on canvas, 2010

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抽象 2015-001 Abstract 2015-001 80x100cm, 油彩、畫布 Oil on canvas, 2015

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心象之 1 Mindscape 1 60.5x50cm, 油彩、畫布 Oil on canvas, 2013

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回旋 Convolution 130x162cm, 油彩、畫布 Oil on canvas, 2013

源起之 2 Origin 2 60x72cm, 油彩、畫布 Oil on canvas, 2006

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開展之 6 Development 6 98x130cm 油彩、畫布 Oil on canvas, 2009

15 之二十三 15-23 27x35cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2012-002 Abstract 2012-002 53x65cm, 油彩、畫布 Oil on canvas, 2012

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抽象 2014-004 Abstract 2014-004 91x116cm, 油彩、畫布 Oil on canvas, 2014

集思 Assemblage 100x100cm, 油彩、畫布 Oil on canvas, 2014

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承合之 4 Continuity 4 200x82cm(x3), 油彩、畫布 Oil on canvas, 2011

Developm

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ment

展創作就是將超現實主義的精神濃縮之後，朝向宇宙的本體與人類的生靈關係進發，以短線及小圓點暗示引申，注入人間的迴響與對宇宙生命之感應，並加入神秘性。 — 藝術家霍剛

Development Making art is to concentrate the spirit of Surrealism to explore the vital relationship between the universe and mankind. The short lines and small points are signiﬁcations and implications to form my responses to the world and perception of the universe while adding a sense of mystery. — HO Kan, artist.

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無題 Untitled 70x100cm, 油彩、畫布 Oil on canvas, 1975

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源起之 11 Origin 11 30x40cm, 油彩、畫布 Oil on canvas, 2009

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開展之 37 Development 37 160x160cm, 油彩、畫布 Oil on canvas, 2010

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抽象 2016-002 Abstract 2016-002 97x163cm, 2016 油彩、畫布 Oil on canvas

抽象 2013-019 Abstract 2013-019 50x60cm, 油彩、畫布 Oil on canvas, 2013

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抽象 2014-007 Abstract 2014-007 53x72cm, 油彩、畫布 Oil on canvas, 2014

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源起之 5 Origin 5 72.5x60cm, 油彩、畫布 Oil on canvas, 2006

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抽象 2013-002 Abstract 2013-002 53x65cm, 油彩、畫布 Oil on canvas, 2013

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抽象 2015-054 Abstract 2015-054

抽象 2015-059 Abstract 2015-059

100x100cm, 油彩、畫布 Oil on canvas, 2015

抽象 2015-058 Abstract 2015-058 100x100cm, 油彩、畫布 Oil on canvas, 2015

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開展之 32 Development 32 70x70cm, 油彩、畫布 Oil on canvas, 2009

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視界之 1 Field of Vision 1 50x50cm, 油彩、畫布 Oil on canvas, 2010

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天階 Stairway to Heaven 60x50cm, 油彩、畫布 Oil on canvas, 2013

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抽象 2014-009 Abstract 2014-009 70x50cm, 油彩、畫布 Oil on canvas, 2014

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源起之 22 Origin 22 193x111cm, 油彩、畫布 Oil on canvas, 2006

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源起之 23 Origin 23 192x111cm, 油彩、畫布 Oil on canvas, 2006

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抽象 2015-003 Abstract 2015-003 53x72cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2014-001 Abstract 2014-001 65x53cm, 油彩、畫布 Oil on canvas, 2014

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抽象 2015-004 Abstract 2015-004 53x65cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-053 Abstract 2015-053 100x100cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2014-003 Abstract 2014-003 116x91cm, 油彩、畫布 Oil on canvas, 2014

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開展之 5 Development 5 98x130cm, 油彩、畫布 Oil on canvas, 2009

抽象 2013-018 Abstract 2013-018 60x72cm, 油彩、畫布 Oil on canvas, 2013

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抽象 2014-019 Abstract 2014-019 40x40cm, 油彩、畫布 Oil on canvas, 2014

抽象 2014-020 Abstract 2014-020 40x40cm, 油彩、畫布 Oil on canvas, 2014

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承合之 6 Continuity 6 50x50cm, 油彩、畫布 Oil on canvas, 2012

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抽象 2014-049 Abstract 2014-049 150x150cm, 油彩、畫布 Oil on canvas, 2014

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抽象 2015-072 Abstract 2015-072 31.5x41cm, 油彩、畫布 Oil on canvas, 2015

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抽象 2015-083 Abstract 2015-083 100x80cm, 油彩、畫布 Oil on canvas, 2015

抽象 2015-051 Abstract 2015-051 92x116cm , 油彩、畫布 Oil on canvas, 2015

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無題 90 Untitled 90 60x60cm, 油彩、畫布 Oil on canvas, 1990

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Inspiratio

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啟書法藝術的結構性亦曾給我啟示。我將文字「分解」，使其成為「有關符號」，並與繪畫的可能性相結合，再以心靈的感受去表現。 — 藝術家霍剛

Inspiration The structure of calligraphy inspired me. I "deconstructed" characters and turned them into "related symbols." They were integrated with the possibilities in painting and subsequently expressed through the perception of the heart. — HO Kan, artist.

無題 2012-005 Untitled 2012-005 79x109cm, 炭筆、紙 Charcoal on paper, 2012

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無題 2011-015 Untitled 2011-015 72x101cm, 炭筆、紙 Charcoal on paper, 2011

無題 2011-010 Untitled 2011-010 72x101cm, 炭筆、紙 Charcoal on paper, 2011

152

無題 2012-004 Untitled 2012-004 79x109cm, 炭筆、紙 Charcoal on paper, 2012

153

無題 2012-016 Untitled 2012-016 72x101cm, 炭筆、紙 Charcoal on paper, 2012

無題 2012-007 Untitled 2012-007 72x101cm, 炭筆、紙 Charcoal on paper, 2012

154

無題 2012-014 Untitled 2012-014 101x72cm, 炭筆、紙 Charcoal on paper, 2012

155

無題 2012-025 Untitled 2012-025 109x79cm, 炭筆、紙 Charcoal on paper, 2012

156

無題 2012-024 Untitled 2012-024 109x79cm, 炭筆、紙 Charcoal on paper, 2012

157

無題 2012-060 Untitled 2012-060 79x109cm, 炭筆、紙 Charcoal on paper, 2012

158

無題 2012-020 Untitled 2012-020 79x109cm, 炭筆、紙 Charcoal on paper, 2012

159

160

無題 2012-006（局部） Untitled 2012-006（detail）

無題 2012-006 Untitled 2012-006 71x100cm(x2), 炭筆、紙 Charcoal on paper, 2012

162

163

無題 2014-001 Untitled 2014-001 9x20.5cm, 複合媒材、紙 Mixed media on paper, 2014

無題 2014-003 Untitled 2014-003 11.5x23cm, 複合媒材、紙 Mixed media on paper, 2014

164

165

無題 2014-004 Untitled 2014-004 15x18cm, 複合媒材、紙 Mixed media on paper, 2014

166

無題 2013-001 Untitled 2013-001 35x24.5cm, 複合媒材、紙 Mixed media on paper, 2014

167

無題 2010-002 Untitled 2010-002 12x21cm, 複合媒材、宣紙 Mixed media on xuan paper, 2014

168

169

Biogr 170

raphy 簡歷

攝影 / 王飛雄 Photo/ WANG Fei-Hsiung

172

霍剛 HO Kan, (1932-)

霍剛，台灣著名的抽象藝術家。曾師事李仲生學習現代藝術，思想畫藝受其影響至為深遠。1956 年，霍剛與李元佳、吳昊、歐陽文苑、夏陽、蕭勤、陳道明、蕭明賢組成「東方畫會」，在當時以極富衝勁、叛逆性和創造力並馳騁藝壇，被賦予「八大響馬」的稱號，猶見其於畫壇的影響力。爾後霍剛長期定居米蘭，作品受到硬邊抽象等西方藝術概念影響，結合東方書法、金石印刻等創作元素，以極簡且饒富詩意的視覺語言發展出個人特有的東方抒情抽象。霍剛的早期創作主為超現實主義風格，作品充滿神秘主義與奇異性，然而此時創作的形制已開始著眼於幾何圖形的表現。定居於米蘭後，霍剛確立個人幾何抽象的創作途徑，並專注於繪畫本質的探究，從繪畫的基本元素：點、線、面與色塊，進而發展到整體構圖的研究，從中發展合乎藝術家體質的抽象表現。作品從「點」的元素出發，進行關乎畫面配置的哲學，生成各自的存在性。畫風從早期的實驗、沈鬱逐漸蛻變成近期的開朗、明快。霍剛的抽象語法以「減法」運行，簡約也蘊含詩意，建構了一個更具包容性的抽象世界，也呼應東方哲理主張萬物相容再生、孕育無限。2016 年於臺北市立美術館舉辦個人大型回顧展「寂弦激韻」，作品亦曾於台灣、中國、義大利、瑞士等多國展出。

Ho Kan is a renowned abstract artist in Taiwan and one of the founding members of Ton Fang Art Group. The modern art movement he participated in brought innovative and reformative influence to Taiwanese art history. Ho integrates Eastern calligraphy and seal carving art to develop his unique Eastern abstract painting of a minimalist yet poetic style. Ho's early style was mainly surrealist, rendering his early works rather mysterious and spectacular. However, he had already begun exploring geometric shapes in his works at this period. After he moved to Milan, his individual use of abstract and geometric shapes had established. He began focusing on exploring the essence of painting, and from the basic elements of painting—points, lines, planes, and color blocks—to develop his unique abstract style. He started from the element of points and created his own philosophy about the arrangement of the image, which validated the essential existence of each point. His painting also transformed from the early experimental and melancholic style to his recent style that has been bright and light. Ho introduced the method of reduction in his abstract art, rendering it minimalistic as well as poetic. His abstract world responds to the oriental philosophical idea that all things are mutually embracing and nurturing, which, in turn, gives birth to an inﬁnite world. In 2016, a large retrospective, Reverberations – HO KAN , was presented at Taipei Fine Arts Museum, and Ho's works have also been exhibited in numerous countries, including Taiwan, China, Italy, Switzerland, etc.

173

Biography 1932

Born in Nanjing

1953

Graduated from Taipei Teacher’s School/Department of Art

Exhibitions 2016

Contemplating the Original Point—The Oriental Abstract Language of HO Kan , Chini Gallery, Taipei, Taiwan Reverberations • HO KAN , Taipei Fine Arts Museum, Taipei, Taiwan

KAOHSIUNG TODAY, Kaohsiung, Taiwan KIAF 2016/ ART SEOUL, Seoul, Korea 2015

Ho Kan Solo Exhibition, Moon Gallery, Taichung, Taiwan Ho Kan Solo Exhibition, Moon 12 Art, Taipei, Taiwan

2014

Ho Kan Solo Exhibition, Moon 12 Art, Taipei, Taiwan ABSTRACT / SYMBOL / ORIENTAL – Exhibition of Taiwan’s Masters of Modern Art , Liang Gallery,

Taipei, Taiwan Milan · Breathe · Taipei , Pro-Partner Foundation, Taipei, Taiwan Walking by Taiwanese Art: 1927-2014 , Liang Galley, Taipei, Taiwan

2013

Ho Kan Original Sketch Exhibition , LOVE Space, Taipei, Taiwan Ho Kan: Time in Between , STARTS Studio, Taipei, Taiwan

2012

Age 80• Ho Kan's Drawing Exhibition , Da Xiang Art Space, Taichung, Taiwan Exploring the Wasteland – The Eight Highwaymen of the East , Da Xiang Art Space, Taichung, Taiwan Formless Form - Taiwanese Abstract Art, Taipei Fine Arts Museum, Taipei, Taiwan

2011

Universal Eternity – Ho Kan Solo Exhibition , Tsing Hua University Art Center, Hsinchu;

Providence University Art Center, Taichung; Cheng Kung University Art Center, Tainan, Taiwan. 2010

Da Xiang Art Space, Taichung, Taiwan

1999

Lee Chun-Shan and His Pupils Exhibition , Taiwan Province Museum of Fine Arts (now National

1997

The Memo of Ton Fan , Dimensions Art Center, Taipei, Taiwan

1994

Taiwan Province Museum of Fine Arts, Taichung, Taiwan

1993

Eslite Gallery, Taipei, Taiwan

1990

Eslite Gallery, Taipei, Taiwan

1988

Galleria Artecentro, Milan, Italy

Taiwan Museum of Fine Arts), Taichung, Taiwan

1986 1985

Taipei Fine Arts Museum, Taipei, Taiwan Galleria Toni Brechbuhl, Switzerland Non libreria, Milan, Italy Asia World Art Center, Taipei, Taiwan

1984

Galleria Artecentro, Milan, Italy

1982

Galleria Artecentro, Milan, Italy

1981

Ton Fan Art Group and Fifth Moon Group: the 25th Anniversary Painting Exhibition , Taiwan

Province Museum of Fine Arts, Taichung, Taiwan 1979

Galleria Plusart, Venice, Italy Pinacoteca Museicomunali, Italy

1978

174

Galleria Artecentro, Milan, Italy

學歷 1932

生於南京市

1953

畢業於台北師範學校 ( 今國立台北教育大學 ) 藝術科

展歷 2016

「原點．解析－霍剛的東方抽象語法」「霍剛．寂弦激韻」

2015 2014

采泥藝術，台北，台灣台北市立美術館，台北，台灣

港都國際藝術博覽會

高雄，台灣

韓國國際藝術博覽會

首爾，韓國

「霍剛個展」

月臨畫廊，台中，台灣

「晝夜之象」

夢 12 美學空間，台北，台灣

「東方視覺－霍剛個展」

夢 12 美學空間，台北，台灣

「抽象．符碼 · 東方情」

尊彩藝術中心，台北，台灣

「米蘭．呼吸 · 台北」

葡眾科技人文發展基金會，台北，台灣

「台灣美術散步道：1927-2014」

尊彩藝術中心，台北，台灣

「霍剛原創手稿展」

LOVE SPACE 藝聚空間，台北，台灣

「無意之間：霍剛作品展」

時空藝術會場，台北，台灣

「霍剛八十．素描展」

大象藝術空間館，台中，台灣

「藝拓荒原－東方八大響馬」

大象藝術空間館，台中，台灣

「非形之形－台灣抽象藝術」

台北市立美術館，台北，台灣

2011

「藝載乾坤－霍剛校園巡迴展」

清華大學，新竹；靜宜大學，台中；成功大學，台南，台灣

2010

「霍剛個展」

大象藝術空間館，台中，台灣

2001

「東方的結構主義」

帝門藝術中心，台北，台灣

1999

「李仲生師生展」

台灣省立美術館，台中，台灣

「霍剛的歷程個展」

帝門藝術中心，台北，台灣

2013 2012

1997

「東方現代備忘錄－穿越彩色防空洞」聯展帝門藝術中心，台北，台灣

1994

「霍剛回顧展」

台灣省立美術館，台中，台灣

1993

誠品畫廊

台北，台灣

1990

誠品畫廊

台北，台灣

1988

藝術中心畫廊

米蘭，義大利

1986

台北市立美術館聯展

台北，台灣

1985

布雷赫波爾畫廊

格蘭斯，瑞士

不是書店

米蘭，義大利

環亞藝術中心

台北，台灣

1984

藝術中心畫廊

米蘭，義大利

1982

藝術中心畫廊

米蘭，義大利

1981 1979

「東方、五月畫會成立二十五週年聯展」

台灣省立博物館，台中，台灣

普魯沙爾特畫廊

威尼斯，義大利

馬且拉達美術博物館

馬且拉達，義大利

1978

藝術中心畫廊

米蘭，義大利

1977

庫茲畫廊

索洛，瑞士

愛各畫廊

非那列，利古雷，義大利

175

1977

Galleria Chutz, Switzland Galleria Eco, Italy

1976

Galleria Fumagalli, Bergamo, Italy Galleria Artecentro, Milan, Italy

1975

Galleria Gemelli, Italy

1974

Galleria di Alessandria, Italy Galleria Andromeda, Bologna, Italy Galleria Macron IV, Rome, Italy

1973

Galleria Del Leone, Italy Abbazia dei padre Benedettini, Italy Istituto Italo Cinese, Milan, Italy Galleria Artecentro, Milan, Italy

1972

Galleria Giovio, Italy Galleria AeA, Trento, Italy Studio Maspes-Romegialli, Italy

1971

Galleria Giorgi, Florence, Italy Galleria II Fondaco, Italy Galleria Der Barba, Italy Galleria Artecentro, Milan, Italy Galleria Studio, Italy

1970

Galleria Orez, Den Haag, Netherlands Galleria Lâ&#x20AC;&#x2122;Entracter, Lausanne, Switzerland Galleria Brambach, Basel, Switzerland

1969

Galleria Artecentro, Milan, Italy

1968

Galleria Lâ&#x20AC;&#x2122;Entracter, Lausanne, Switzerland Galleria Wilm Falazik, German

1967

Galleria Pozzi, Italy Galleria Artecentro, Milan, Italy

1966

Galleria Merlo, Italy Galleria La Cornice, Italy Galleria Sanpetronio, Bologna, Italy Studio Maspes-Romegialli, Italy

1965

Galleria Artecentro, Milan, Italy Galleria Tao, Vienne, Austria Galleria Il Cenobbio, Italy

1960

Galleria Numero, Florence, Italy

1958

Asian Young Art Exhibition, Tokyo, Japan

1957

The 1st Ton Fan Group Exhibition, Taipei, Taiwan

Awards

176

1997

The 5th Lee Chun-Shan Foundation Modern Art Achievement Award, Taiwan

1969

The 1st Prize of Giuseppe Mori, Italy

1965

International Art Prize of Development, Italy

1976

付馬加里畫廊

貝爾加莫，義大利

藝術中心畫廊

米蘭，義大利

1975

解邁里畫廊

利米尼，義大利

1974

阿奈桑得里亞市政府

義大利

安多羅美達畫廊

波羅那，義大利

馬爾空第四畫廊

羅馬，義大利

獅子畫廊

特拉達得，義大利

拜奈待地尼神父隱修院

菲那爾碧亞，義大利

中義協會

米蘭，義大利

藝術中心畫廊

米蘭，義大利

1973

1972

1971

1970

覺維奧畫廊

科摩，義大利

AeA 畫廊

大朗多，義大利

馬斯佩斯與羅美佳里工作室

松德里奧，義大利

交爾基畫廊

佛羅倫斯，義大利

封答各畫廊

邁西拉，義大利

巴爾巴畫廊

卡斯代蘭札，義大利

藝術中心畫廊

米蘭，義大利

工作室畫廊

馬特拉，義大利

奧萊茲畫廊

海牙，荷蘭

安特拉赫得畫廊

洛桑，瑞士

布蘭巴哈畫廊

巴塞爾，瑞士

「第七屆國際繪畫聯展」 1969 1968 1967 1966

1965

1960

「國際繪畫年展」

義大利義大利

藝術中心畫廊

米蘭，義大利

安特拉赫得畫廊

洛桑，瑞士

威廉．法拉藉克畫廊

波宏，西德

波茲畫廊

諾瓦那，義大利

藝術中心畫廊

米蘭，義大利

邁爾洛畫廊

維吉瓦諾，義大利

拉．可爾尼且畫廊

克萊莫那，義大利

桑貝托洛尼奧畫廊

波羅那，義大利

馬斯佩斯與羅美佳里工作室

松德里奧，義大利

藝術中心畫廊

米蘭，義大利

阿爾奈達畫廊

加拉那德，義大利

切諾比奧畫廊

米蘭，義大利

路邁洛畫廊

佛羅倫斯，義大利

「國際抽象畫展」

伯拉多，義大利

1958

「亞洲青年美展」

東京，日本

1957

「第一屆東方畫展」

新生報大樓，台北，台灣

獲獎 1997

第五屆李仲生基金會現代繪畫成就獎

台灣

1969

久賽彼．莫利首獎

義大利

1965

國際藝術發展獎

義大利

177

不管活到幾歲，我的心地都很年輕，這也是我受到西方大師的影響。馬蒂斯、畢卡索、米羅，都是長壽的，他們的作品越到晚年越明朗，越近乎兒童，而且沒有包袱，非常直率、非常開朗、非常明亮。

—霍剛

No matter how old I get, my mind remains young. This is also inﬂuenced by the Western masters. When I look at Matisse, Picasso, and Miró, they all lived a long life; their works became brighter and lighter in their silver years, which reminded me of children's drawing. They painted without any burden, very candid, broad-minded, and bright. — HO Kan

178

義大利學生路易基畫霍剛（路易基當時十歲） The drawing by Luigi, Ho Kan's student in Italy.

179

Ind 180

dex 索引

Origin

182

P. 040

P. 042

P. 044

P. 046

抽象 2015-057 Abstract 2015-057

抽象 2015-005 Abstract 2015-005

抽象 2015-080 Abstract 2015-080

源起之 13 Origin 13

100x100cm

195x130cm

72.5x91cm

91x72.5cm

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2010

P. 048

P. 049

P. 050

P. 051

抽象 2015-056 Abstract 2015-056

源起之 24 Origin 24

抽象 2015-079 Abstract 2015-079

線形之 2 Linear 2

100x100cm

50x50cm

53x45.5cm

70x50cm

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2010

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2013

P. 052

P. 053

P. 054

P. 055

隨想 Improvisation

抽象 2014-010 Abstract 2014-010

抽象 2013-005 Abstract 2013-005

抽象 2013-004 Abstract 2013-004

50x70cm

46x53cm

50x70cm

46x53cm

油彩、畫布 Oil on canvas, 2007

油彩、畫布 Oil on canvas, 2014

油彩、畫布 Oil on canvas, 2013

P. 056

P. 058

P. 060

P. 062

源起之 16 Origin 16

乾坤 1-2-3 Universe 1-2-3

承合之 3 Continuity 3

抽象 2016-001 Abstract 2016-001

72.5x91cm

200x100cm(x3)

100x200cm(x2)

97x163cm

油彩、畫布 Oil on canvas, 2010

油彩、畫布 Oil on canvas, 2013

油彩、畫布 Oil on canvas, 2011

油彩、畫布 Oil on canvas, 2016

183

Carrying Forward

184

P. 067

P. 068

P. 070

P. 071

心象之 2 Mindscape 2

抽象 2015-052 Abstract 2015-052

抽象 2015-061 Abstract 2015-061

抽象 2015-062 Abstract 2015-062

60.5x50cm

97x130cm

60.5x50cm

油彩、畫布 Oil on canvas, 2013

油彩、畫布 Oil on canvas, 2015

P. 072

P. 073

P. 074

P. 075

抽象 2015-066 Abstract 2015-066

源起之 4 Origin 4

抽象 2015-070 Abstract 2015-070

象形之 3 Pictograph 3

50x60.5cm

60.5x72.5cm

31.5x41cm

40x50cm

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2006

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2008

P. 076

P. 078

P. 079

P. 080

開展之 2 Development 2

抽象 2015-007 Abstract 2015-007

抽象 2015-008 Abstract 2015-008

開展之 17 Development 17

135x135cm

72x90cm

72.5x60.5cm

油彩、畫布 Oil on canvas, 2009

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2009

P. 081

P. 082

P. 083

P. 084

源起之 17 Origin 17

抽象 2015-001 Abstract 2015-001

心象之 1 Mindscape 1

回旋 Convolution

91x72cm

80x100cm

60.5x50cm

130x162cm

油彩、畫布 Oil on canvas, 2010

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2013

P. 086

P. 088

P. 090

P. 091

源起之 2 Origin 2

開展之 6 Development 6

15 之二十三 15-23

抽象 2012-002 Abstract 2012-002

60x72cm

98x130cm

27x35cm

53x65cm

油彩、畫布 Oil on canvas, 2006

油彩、畫布 Oil on canvas, 2009

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2012

P. 092

P. 094

P. 096

抽象 2014-004 Abstract 2014-004

集思 Assemblage

承合之 4 Continuity 4

91x116cm

100x100cm

200x82cm(x3)

油彩、畫布 Oil on canvas, 2014

油彩、畫布 Oil on canvas, 2011

185

Development

186

P. 100

P. 102

P. 104

P. 106

無題 Untitled

源起之 11 Origin 11

開展之 37 Development 37

抽象 2016-002 Abstract 2016-002

70x100cm

30x40cm

160x160cm

97x163cm

油彩、畫布 Oil on canvas, 1975

油彩、畫布 Oil on canvas, 2009

油彩、畫布 Oil on canvas, 2010

油彩、畫布 Oil on canvas, 2016

P. 108

P. 109

P. 110

P. 112

抽象 2013-019 Abstract 2013-019

抽象 2014-007 Abstract 2014-007

源起之 5 Origin 5

抽象 2013-002 Abstract 2013-002

50x60cm

53x72cm

72.5x60cm

53x65cm

油彩、畫布 Oil on canvas, 2013

油彩、畫布 Oil on canvas, 2014

油彩、畫布 Oil on canvas, 2006

油彩、畫布 Oil on canvas, 2013

P. 114

P. 115

P. 116

抽象 2015-054 Abstract 2015-054

抽象 2015-059 Abstract 2015-059

抽象 2015-058 Abstract 2015-058

開展之 32 Development 32

100x100cm

70x70cm

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2009

P. 117

P. 118

P. 119

P. 120

視界之 1 Field of Vision 1

天階 Stairway to Heaven

抽象 2014-009 Abstract 2014-009

源起之 22 Origin 22

50x50cm

60x50cm

70x50cm

193x111cm

油彩、畫布 Oil on canvas, 2010

油彩、畫布 Oil on canvas, 2013

油彩、畫布 Oil on canvas, 2014

油彩、畫布 Oil on canvas, 2006

P. 121

P. 122

P. 123

P. 124

源起之 23 Origin 23

抽象 2015-003 Abstract 2015-003

抽象 2014-001 Abstract 2014-001

抽象 2015-004 Abstract 2015-004

192x111cm

53x72cm

65x53cm

53x65cm

油彩、畫布 Oil on canvas, 2006

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2014

油彩、畫布 Oil on canvas, 2015

P. 126

P. 128

P. 130

P. 132

抽象 2015-053 Abstract 2015-053

抽象 2014-003 Abstract 2014-003

開展之 5 Development 5

抽象 2013-018 Abstract 2013-018

100x100cm

116x91cm

98x130cm

72x60cm

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 2014

油彩、畫布 Oil on canvas, 2009

油彩、畫布 Oil on canvas, 2013

187

188

P. 134

P. 135

P. 136

抽象 2014-019 Abstract 2014-019

抽象 2014-020 Abstract 2014-020

承合之 6 Continuity 6

抽象 2014-049 Abstract 2014-049

40x40cm

50x50cm

150x150cm

油彩、畫布 Oil on canvas, 2014

油彩、畫布 Oil on canvas, 2012

油彩、畫布 Oil on canvas, 2014

P. 138

P. 140

P. 142

P. 144

抽象 2015-072 Abstract 2015-072

抽象 2015-083 Abstract 2015-083

抽象 2015-051 Abstract 2015-051

無題 90 Untitled 90

31.5x41cm

100x80cm

92x116cm

60x60cm

油彩、畫布 Oil on canvas, 2015

油彩、畫布 Oil on canvas, 1990

Inspiration

P. 148

P. 150

P. 151

無題 2012-005 Untitled 2012-005

無題 2011-015 Untitled 2011-015

無題 2011-010 Untitled 2011-010

無題 2012-004 Untitled 2012-004

79x109cm

72x101cm

79x109cm

炭筆、紙 Charcoal on paper,2012

炭筆、紙 Charcoal on paper, 2011

炭筆、紙 Charcoal on paper, 2012

P. 152

P. 153

P. 154

無題 2012-016 Untitled 2012-016

無題 2012-007 Untitled 2012-007

無題 2012-014 Untitled 2012-014

無題 2012-025 Untitled 2012-025

72x101cm

101x72cm

109x79cm

炭筆、紙 Charcoal on paper, 2012

P. 155

P. 156

P. 157

P. 160

無題 2012-024 Untitled 2012-024

無題 2012-060 Untitled 2012-060

無題 2012-020 Untitled 2012-020

無題 2012-006 Untitled 2012-006

109x79cm

79x109cm

71x100cm( 上 , Up)

炭筆、紙 Charcoal on paper, 2012

189

P. 160 無題 2012-006 Untitled 2012-006 71x100cm（下 , Down）炭筆、紙 Charcoal on paper, 2012

190

P. 162

P. 164

無題 2014-001 Untitled 2014-001

無題 2014-003 Untitled 2014-003

無題 2014-004 Untitled 2014-004

9x20.5cm

11.5x23cm

15x18cm

複合媒材、紙 Mixed media on paper,

2014

P. 165

P. 166

無題 2013-001 Untitled 2013-001

無題 2010-002 Untitled 2010-002

35x24.5cm

12x21cm

複合媒材、紙 Mixed media on paper,

複合媒材、宣紙 Mixed media on xuan

2014

paper, 2014

191

原點．解析 — 霍剛的東方抽象語法 Contemplating the Original Point — The Oriental Abstract Language of HO Kan

發行人

林清汶

Publisher

Vincent LIN

總編輯

鄭佩芳

Chief Editor

Peggy CHENG

執行編輯

杜綺文、何立心

Executive Editor Audrey TU, Lihsin HO

編輯協力

曾金鈴

Coeditor

設計

Fritz Lee

Designer

Fritz Lee

藝術行銷

李朝馨

Marketing

Sabrina LEE

發行

采泥國際文化事業有限公司

Published by

Chini Gallery 1F, No.48, Ln 128, Jingye 1st Rd.,

臺北市大直敬業一路 128 巷 48 號 1 樓

Zhongshan Dist., Taipei City 10462, Taiwan

Tel

886-2-7729-5809

Tel

886-2-7729-5809

Fax

886-2-8502-5715

Fax

886-2-8502-5715

Web

www.chinigallery.com

Web

www.chinigallery.com

www.facebook.com/chinigallery

出版日期

2016 年 7 月初版

Publishing Date July, 2016 First Print

國際標準書

978-986-88449-6-4

ISBN

978-986-88449-6-4

定價新台幣

1500 元

Price

TWD1500

192

Lilian TSENG

原點．解析 : 霍剛的東方抽象語法 / 霍剛 [ 著 ] —初版— 新北市 : 采泥國際文化 , 2016.07 192 面 ; 25 x 27 公分 ISBN 978 - 986 - 88449 - 6 - 4 ( 精裝 ) 1. 油畫 2. 畫冊 948.5

194

105013561

196