石間秀痕．鄧卜君 The Imprints Between The Rocks．Teng Pu-Chun

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「從一而終，轉念生變」是我體悟的心得， 生命常在瞬間消失，

希望觀者在我的作品中有瞬間的啓發和不同的視野。 ̶ 鄧卜君

'Despite loyalty and determination, things change' is something I have learned. Life often slips away in a heartbeat, and I hope that the viewer will find a moment's enlightenment in my work, and a different perspective.

— Teng Pu - Chun

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從一而終．轉念生變 關於鄧卜君的創作 文 / 李依依

Focus 雜誌總編輯

當代水墨在近幾年來受到

來

多的關注，無論是兩岸三地或華人

藝術家，在在展現出各異其趣的特色與風格。出生於花蓮，目前亦 居住在花蓮的藝術家鄧卜君，便是一位將現代與傳統文化融合至極 的水墨藝術家，作品經常富含深意，以奇幻的構圖、非凡的用色， 散發獨特的水墨魅力。鄧卜君表示：「我常想，水墨現代是什麼？ 是把傳統唾棄、破壞或改革？但我都沒做，卻選擇和傳統共存對 話，而後轉念轉換。」 在

層深意的背後，其基礎觀念來自於《易

經》，「易有太極，是生兩儀。兩儀生四象，四象生八卦」， 從

樣的基礎出發，擴展至千變萬化。鄧卜君基於

樣的概念，以

「加法」作畫， 與傳統中國畫是完全相反的觀念，至於，加什麼？ 如何加？也成為鄧卜君創作的重要課題。 在鄧卜君的作品中，常可看到特殊的山水石景，

點無疑與藝術家

的創作環境有極大關係。花蓮不但是適合居住的好地方，其自然景 致更是獨具特色。比如有石灰岩沖刷出世界地理奇觀的太魯閣， 也有世界最大的潭—七星潭，即太平洋在花蓮海邊形成的月

灣海

岸。鄧卜君說：「雖然太魯閣雄偉壯觀，但我卻注意到七星潭的岸 邊有很多大大小小的石頭—硬砂岩，它沒有石頭紋理，表面有砂的 質感，硬度很高。在我的作品中經常出現，形成獨特的符號， 畫法，姑且稱『搓點皴』，花蓮是借我的手，孕育出

種

種皴法的原

因。」比如作品〈紅石青雲（彼岸系列）〉中，無論是用色或構圖， 截然不同於傳統水墨，雅致的赤青兩色交錯，在墨色背景中延伸向 畫外，簡練結構中，體現一份當代社會的世外桃源寄寓。 畫面構圖或用色雖與傳統水墨大相逕庭，但仍不難看出鄧卜君深厚 的傳統根柢，宛如是在傳統國畫的花園中所長出的奇花異草。他 說：「三十幾年前，一些現代水墨先驅們大喊國畫已死，改革、破

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壞、丟棄聲浪不斷，我卻在唐、宋、元、明、清的古畫裡，優遊、 耕耘，尋找其本質的特色，再加上新觀念的思想與想像，種下了 顆種子。」如此積累了三十年的功力，一方面繼續鑽研傳統筆墨之 趣，另一方面讓想像力持續奔馳，在畫面中加強了現代的強度與美 感，並每每產生新的花

、新的果實。

曾經有十年的時間，鄧卜君封筆不作畫。至 1996 年開始，才重拾 畫筆，成立莫名堂，並發表「空間山水—石情畫意」。2008 年退 休後，他的創作能量反而更為活躍，展覽接續不綴，2014 年 3 月， 成為紐約蘇富比精選的十六位畫家之一，參與「水墨：夢幻仙境」 特展，足以證明其作品不

在學術上已樹立地位，亦在市場上引發

迴響。 曾有藝評以「現代魔幻水墨」來概括鄧卜君的創作風格，追根究底 「魔幻」二字，其實還是回歸到現實生活的種種靈感。該如何捕 捉生命中閃光一逝的靈感

？鄧卜君說：「當我 2010 年進入專業

畫家領域（職業）後，靈感成為負擔，不可信任。所以我改變了思 維方式與作法，用不斷的充電、搜尋和永無止盡的想像，隨時記錄 和畫草稿，作品就源源不

而來。」藝術必須源自於生活，而又必

須跳脫於生活，觀者才足以感到既親切卻又意想不到，藝術才能真 正達到啟發人心。 目前，鄧卜君說他正以「插頭」哲學過著自在的創作生活，「插頭 插上，不管時間多寡，就進入創作狀態。插頭一拔，該吃飯、睡覺、 休閒玩樂一樣都不少。」近期作品畫面中，透露出他從容不迫而得 心應手的筆法，正如他所言：「從一而終，轉念生變」，讓我們看 到傳統筆墨下，轉念生變的無窮可能，正是

種種之「變」，讓鄧

卜君的創作更為開闊，如此的當代水墨魅力，無疑是相當迷人的。

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Faithful to the End. Reflection Gives Rise to Change The Work of Teng Pu-Chun Text / Li Yiyi Editor in Chief, Focus Megazine

Contemporary ink painting has been receiving more and more attention in the last few years. Chinese artists whether those from both sides of the Strait and the Hong Kong or other Asian countries, are presenting extraordinarily interesting characteristics and styles. The artist Teng Pu-Chun, who was born in Hualien and still lives there, works in ink and fuses contemporary and traditional culture to the utmost. His work contains considerable depth, its fantastic composition and extraordinary use of colour exuding a unique ink water charm. Teng says: “I often think, what is the contemporary ink painting? Is it spurning, breaking or reforming tradition? But I've never done that, rather, I've chosen to live with tradition and initiate a dialogue, and then reflected on things and changed.” This basic concept comes from the I Ching: “In the system of Change there is the Great Ultimate. It generates the Two Modes (yin and yang). The Two Modes generate the Four Forms (major and minor yin and yang). The Four Forms generate the Eight Trigrams.”

Beginning from such a foundation, this extends to all changes. Based on such concepts, Teng uses “additive” painting, a concept completely contrary to traditional Chinese painting: add what? How? These have become key issues in Teng's work.

Unique landscapes can often ⁄ seen in Teng's work, and this is undoubtedly related to the artist's working environment. As well as being a great place to live, Hualien's natural scenery is also quite unique. For example, there is Taroko Gorge, where limestone has scoured out a geographic spectacle unlike anything else in the world, and also the world's largest beach, Qixingtan Beach, in the crescent moon-shaped bay where Hualien meets the Pacific Ocean. Teng says: “Although Taroko Gorge is majestic, I noticed

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that Qixingtan Beach has many stones of all sizes which don't have vein lines, have a granular texture, and are very hard. They often appear in my work, forming unique symbols. Such calligraphy is temporarily called 'rolled wrinkle texturing stroke ', Hualien uses my hands to bring forth this type of texturing.” For example, Red Stone and Turquoise Clouds (Far Shore

Series) , clearly diverges from traditional ink painting in both its use of color and its composition. The elegant interplay between red and turquoise extends beyond the painting from the sepia background, the work's simplified structure embodying a contemporary social paradise.

Although there are considerable differences in composition and use of colour between traditional painting and Teng's work, his firm traditional roots are readily apparent in, for example, the exotic plants which spring from the ground in gardens depicted in traditional Chinese paintings. He says, “Thirty years ago, some avant-garde modern ink painters proclaimed that Chinese painting was already dead, reformed, broken, and this clamor never ceased, but I lost myself in paintings from the Tang, Song, Ming, and Qing Dynasties, cultivating and searching for their fundamental characteristics, and then added new concepts of thought and imagination, planting this seed.” After thirty years of such labor, continuing to delve into traditional ink painting while simultaneously allowing his imagination to keep expanding has bolstered the contemporary emphasis and ⁄auty of his work, while often ⁄aring new flowers and new fruit.

Teng once stopped working for ten years. It was only in 1996 that he once again took up his brush, founded the Moming Hall, and issued “Space Landscape – Painting for the Love of Rocks”. After retiring in 2008, his capacity for work was revitalized, and expanded relentlessly. In March 2014,

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he became one of the sixteen artists selected by Sotheby's in New York to participate in the Shuimo / Water Ink: Enchanted Landscapes special exhibition, which proves that his work had met with a response in the market, rather than having ⁄come established exclusively in academia.

An art critic once summarized Teng's working style as “modern fantasy water ink”, which boils down to the word “fantasy”, which is actually all kinds of inspiration returning to real life. And how should the feeling of life's fleetingness ⁄ captured? Teng says, “After I entered professional painting in 2010, inspiration became a burden, and unreliable. So I changed my way of thinking and acting, constantly recharged and sought endless imagination, taking notes and drawing drafts constantly, and work poured forth.” An artist must ⁄gin from their own life yet must also escape their own life - only an observer can feel that what they see is both familiar and unexpected, and it is only then that an artist can truly enlighten the human heart.

Presently, Teng says that he is living a carefree working life by using the“plug” philosophy: “when you're plugged in you enter a creative state, no matter how long you work. As soon as the plug is removed, eating, sleeping, resting or playing is necessary in the same way.” His unforced, inspired calligraphy is evident in his recent work, as he says: “Faithful to the end, reflection gives rise to change”, allowing us to see the endless possibilities for reflection and change within traditional ink painting. Truly, such “change” has broadened Teng's work, and such contemporary water ink is undeniably enchanting.

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︽紅石青雲︾ 彼 ( 岸系列

)

R e d S t o n e a n d Tu rq u o i s e C l o u d s

( O t h e r S h o re S e r i e s )

2014 140x76cm Ink on Paper

紙上水墨

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︽石浪漂青︾

R o c k Wa v e s

2014 121x29cm Ink on Paper

紙上水墨

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「加法」是我和傳統中國畫完全相反的觀念， 所以加什麼？如何加？

是我平常很重要的功課。 ̶ 鄧卜君

Additive calligraphy is a concept completely contrary to traditional Chinese calligraphy, so what is being added? How is it added? These are key questions I often struggle with.

— Teng Pu - Chun

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Soliloquy

︽無用屹峯．獨語︾

Us e l e s s Pe a． k

2014 186.5x79cm Ink on Paper

紙上水墨

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︽磐碞位移．水立方︾

D i s p l a c e m e n t o f R o c k． s

2014 133x79cm Ink on Paper

紙上水墨

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Wa t e r P l a t e

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︽金暉︾ 彼 ( 岸系列

)

Ink on Paper

Golden Glor y (Other Shore Series)

2014 45x30cm

紙上水墨

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︽霞暈︾ 彼 ( 岸系列

)

Ink on Paper

Sunset Glow (Other Shore Series)

2014 45x30cm

紙上水墨

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《原相》( 太初系列 )

Original Image

(Beginning Series)

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2014, 79x79cm 紙上水墨 Ink on Paper

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︽朱岩起白雲．環水潄流下︾

Ink on Paper

· White Clouds over Vermilion Rock

2015 62x90cm

紙上水墨

Water Flows Down

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︽應山合水︾

L a n d s c a p e o f M o u n t a i n s a n d Wa t e r

2014 142x79cm Ink on Paper

紙上水墨

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在我的作品中，我常想水墨現代是什麼？ 是把傳統唾棄、破壞或改革？

但我都沒做，卻選擇和傳統共存對話，而後轉念轉換。 ̶ 鄧卜君

When I'm working, I often wonder: what is contemporary ink painting?

Is it discarding, breaking, or reforming tradition? But I've never done any of these, rather, I've chosen coexistence and dialogue with tradition, and then my ideas changed — Teng Pu - Chun

︽看石︾ 彼 ( 岸系列 )

V iew Rocks (Other Shore Series)

2015 39.5x142cm Ink on Paper

紙上水墨

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《變相》( 太初系列 ) Image Change (Beginning Series) 四四

2015, 79x79cm 紙上水墨 Ink on Paper

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︽泉吟︾

Spring Moan

2014 78.5x43.5cm Ink on Paper

紙上水墨

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︽山閒佈石水靈︾

Wa t e r S p i r i t o f t h e Va l l e y

2015 39.5x142cm Ink on Paper

紙上水墨

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Gurgling Water

︽縈迴水抱石．漫潄一響流︾

． Water around Rocks

2015 123x236cm Ink on Paper

紙上水墨

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︽摘星山︾

Star Picking Mountain

2015 141.5x39cm Ink on Paper

紙上水墨

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︽藍月︾

Ink on Paper

Blue Moon

2013 65x64cm

紙上水墨

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︽太初︾ 太 ( 初系列

)

Beginning (Beginning Series)

2009 108x75.5cm Ink on Paper

紙上水墨

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鄧卜君 簡歷

1957

出生於花蓮，天上沒有任何異狀，普通人是也

1981

考上國立藝專，如魚得水

1984

國立藝專畢業

1987

封筆，不再作畫約十年

1996-1999

重拾畫筆，成立莫名堂，發表 < 空間山水－石情畫意 >

1999-2008

一切無事，生活無憂，性孤僻，少與人交，等退休

2008

休已退，人不老，健康的不得了！

2008/8

花蓮松園敬邀個展（有補助），閒閒無事，為了兩萬元出展了

2009

第一次身強體健的為自己，自拍、自編、手工製作了十本作品集 ( 包括水墨、石畫、篆刻等 )

2010

巧緣遇到伯樂彭康隆老師，他說被我的水墨畫電到手起雞母皮 ( 台 語 )，非邀到台北展出不可

2010/4

台北畫庫－第一次和 96 歲畫家張光賓聯展，真是受寵若驚，而他 老人家的作品，已達到“無所謂”的境界

2010/6

台北一票人票畫空間－ < 怪石水墨 > 聯展，展出的有于彭、 王岩松、彭康隆、鄧卜君，畫風光怪陸離，石相百出

2010/9

台北畫庫－ < 異域水墨 > 台北第一次個展，沒有酒會，本人也沒 到現場，我想既然是視覺藝術，就由它 ( 作品 ) 去自說自話 ( 畫 ) 了

2011/4

台北畫庫－ < 知黑守白 > 五人水墨聯展，展出的有于彭、梁兆熙、 劉文潔、彭康榮、鄧卜君，也沒到現場，不知該說什麼

2011/10

台北一票人票畫空間－ < 知情墨事 > 鄧卜君水墨個展，第一次參 加自己的畫展酒會，真的就是在喝酒了

2012/6

台北畫庫－ < 墨點蒙養 > 四人聯展，于承堯、張光賓、夏一夫、 鄧卜君，四人加起來三百四十幾歲，真是老而彌堅

2012/8

花蓮乙皮畫廊－參展北京國際藝術博覽會

2013/8

台北東家畫廊－參展 16 屆北京國際藝術博覽會

2014/3

紐約蘇富比精選的 16 位畫家一起參予＜水墨 : 夢幻仙境 > 特展

2015/6

台北采泥藝術－＜石間秀痕＞個展

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Teng Pu-Chun Biography

1957

Born in Hualien, no strange signs in the sky, just a normal person.

1981

Accepted into the National Academy of Arts, like a fish being put back into water.

1984

Graduated from the National Academy of Arts.

1987

Gave up the brush, didn’t paint for almost ten years.

1996-1999 Rediscovered the brush, set up the Moming Hall, and published “Space Landscape – Painting for the Love of Rocks” 1999-2008 Lived a carefree life without problems. Somewhat reclusive, with little interaction with people, just waiting for retirement.

2008

Retired very young, not that old but in terrible health!

2008/8

Invited to do a solo exhibition (subsidy) at the Pine Garden in Hualien. It went well and the exhibition made NT$20,000.

2009

First time feeling strong and healthy. Compiled art collections and hand-made ten art compilations (including ink, stone painting and carving).

2010

Met the teacher and talent scout Peng Kang-long, who said he was mesmerized by my ink and wash painting, and he absolutely had to invite me to exhibit in Taipei.

2010/4

Taipei Art Gallery – first joint exhibition with 96 year old painter Zhang Guang-bin.

Truly humbled, but his old timer’s art had become totally irrelevant.

2010/6

Piaopiao Gallery, Taipei – a combined exhibition in stone and ink with Yu Peng, Wang Yan-song, Peng Kang-long and Teng Pu-chun. Bizarre styles and a lot of rocks.

2010/9

Taipei Art Gallery – “Exotic Ink”: my first solo exhibition, no reception. I didn’t even go, I thought since it was visual art it would speak for itself.

2011/4

Taipei Art Gallery – “Know the Dark, Stay in the Light”: A five person joint ink exhibition with Yu Peng, Liang Zhao-xi, Liu Wen-jie, Peng Kang-rong, and Teng Puchun. Still didn’t go, I didn’t know what to say.

2011/10

Piaopiao Gallery, Taipei – ”Understanding Ink”: a Teng Pu-Chun ink exhibition.

It was my first time going to my own reception, I am there for drinking.

2012/6

Taipei Art Gallery – “Ink Dots to Self-cultivation”: a four person exhibition with Yu Cheng-yao, Zhang Guang-bin, Xia Yi-fu and Teng Pu-chun. Our combined ages came to over 340, pretty old but still going.

2012/8

The iP Art Gallery in Hualien; exhibited at Beijing Art Expo

2013/8

Boss Art Gallery in Taipei; exhibited at the 16th Beijing Art Expo.

2014/3

Sotheby’s in New York selected 16 artists to take part in the special exhibition “Shuimo / Water Ink: Enchanted Landscapes”.

2015/6

The Chini Gallery in Taipei ; The Imprints Between The Rocks Solo Exhibition

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石間秀痕．鄧卜君

藝術家

鄧卜君

發行人

林清汶

總編輯

鄭佩芳

執行編輯

何立心、杜綺文

協同編輯

曾金鈴

設計

Fritz LEE

翻譯

凱勁中英翻譯服務有限公司

發行

臺北市大直敬業一路 128 巷 48 號 1 樓 Tel

886-2-7729-5809

Fax

886-2-8502-5715

Web www.chinigallery.com Fb 印刷

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出版日期

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886-2-2221-9969

Fax

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中華民國一零四年六月 初版

國際標準書號 978-986-88499-8-3 定價

新台幣 800 元

版權所有 翻印必究

國家圖書館出版品預行編目 (CIP) 資料

石間秀痕．鄧卜君 / 鄧卜君 [ 作 ].

̶初版̶, ̶新北市 : 采泥藝術 , 民 104.06 64 面 ; 14x29 公分

ISBN 九七八 ̶ 九八六 ̶ 八八四九九 ̶ 八 ̶ 三 ( 精裝 ) 1. 水墨畫 2. 畫冊 945.6

104008847

六四

The Imprints Between The Rocks Teng Pu-Chun

Artist

Pu-Chun TENG

Publisher

Vincent LIN

Chief Editor

Peggy CHENG

Executive Editor

Lihsin HO, Audrey TU

Coeditor

Lillian TSENG

Designer

Fritz LEE

Translator

Kevin’s Chinese-English Translation Service

Published

Chini Gallery 1F, No.48, Ln 128, Jingye 1st Rd., Zhongshan Dist., Taipei City 10462, Taiwan

Printed

Tel

886-2-7729-5809

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China Graphic Art Corporation 11F, No.160, Jiankang Rd., Chungho Dist., New Taipei City 23585, Taiwan Tel

886-2-2221-9969

Fax

886-2-2226-4622

Publishing Date

June, 2015 First Print

ISBN

978-986-88499-8-3

Price

TWD 800

All rights reserved.

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