書象 The Imagery of Calligraphy 程代勒 Cheng Tai-Le

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Contents 書象｜程代勒 The Imagery of Calligraphy ｜ Cheng Tai-Le 許個幸福 Make a Wish of Happiness 奔雷 Running Thunder 水中魚賞月 Fish Enjoying the Moonlight 行住坐臥 Walking, Living, Sitting and Lying 04 08 10 11 13

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溫柔半兩 Showing a Little Bit of Gentleness

彌陀作大舟 Wish You a Safe Journey by Saying "Buddha Amitabha"

煙波一釣徒 A Lone Fishing Hermit

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人生如戲 Life Is Like a Play 一日清閑一日仙

To Be Entirely at Leisure for One Day Is to Be for One Day an Immortal

八大自在我 Eight Kinds of Unimpeded Subjectivity

逍遙遊 A Happy Excursion

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無事小神仙 Being at Ease and Free Like a Little Immortal 20

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書象｜程代勒

「書象」二字取其字義，意即書寫的意象，而意象是有無限大擴充空間的。作品並不執著於外在對象的似與不似，而是重視其精神意涵。藝術家為了表達創新精神，從傳統漢字出發，以對於書體掌握的深刻與透徹，細膩中散放出豪邁的寬闊，展開傳統與當代的辯證關係，將這一切洋溢於尺幅之間。

康德說：「在一切自由的藝術中都要求有某種强制性的東西或如人們所說，要求有某種機械精神。」這裡的機械精神，意指藝術創作裡的技巧性和重複性，任何一門技藝都要通過長期的訓練，才能掌握所謂「機械的東西」，也就是技巧和熟練度，

進而在創作時駕輕就熟，最終達到一揮而就、妙造自然的境界。程代勒，畢業於國立臺灣師範大學美術學系國畫組（68 級），在校時受到林玉山、呂佛庭、王壯為、王北岳等教授的教導，以國畫組第一名的優異成績畢業，早期精良紮實的學院美術訓

練，是日後開展創作重要的基石。

程代勒的書法，近來將篆書的曲線結構應用到創作之中。不僅主題回應當前社會狀態，形式也跳脫傳統筆墨框架。將對生活

的想法和感悟呈現在作品中。在黃智陽教授的文章中如此評價到：「從經典中汲取養分，融入生活的所見所思，讓經典的文

句與現代生活結合，讓經典與生活不再遙遠。」由此可見程代勒書法裡源自於生活俯拾即是的浪漫情懷。

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The Imagery of Calligraphy ｜

Cheng Tai-Le

"The Imagery of Calligraphy" refers to the imagery of the written word, and the imagery has inﬁnite room for expansion. The works are not obsessed with the similarity and dissimilarity of external objects but emphasize their spiritual meaning. In order to develop creativity and innovation, the artists start from the traditional Chinese characters, with a profound and thorough grasp of the calligraphy style, display the boldness and broadness from the delicacy of the characters, unfold the dialectical relationship between tradition and modernity, and permeate all of these components on paper.

According to Immanuel Kant, "...in all free arts, there is yet requisite something compulsory or, as it is called, mechanism, without which the spirit, which must be free in art and which alone inspires the work, would have no body and would evaporate altogether " The mechanical aspect here refers to the skill and repetition in artistic creation. Any skill requires longterm training to master the so-called "mechanism" - that is, skills and proficiency, - and then finally to achieve the state of creating art with ease and freedom. Cheng Tai-Le graduated from the Chinese Painting Group of the Department of Fine Arts of National Taiwan Normal University (Grade 68). He was taught by Lin Yushan, Lu Foting, Wang Zhuangwei, Wang Beiyue, and other professors when he was in school. He was awarded first place in the Chinese painting group when he graduated. Excellent and solid academic art training in the early stage is an important cornerstone for his future art creation.

Cheng Tai-Le has recently applied the curved structure of seal script to his calligraphy. Not only do the themes of his works respond to the current social situation, but the forms also break away from the framework of traditional brush and ink. He presents his thoughts and feelings about life in his works. In an article written by Huang Zhiyang, the professor commented: "(Cheng's works) draw nutrients from the Chinese classics, integrate what he has seen and thought in life, combine sentences in the classics with modern life, and have both linked and reachable." From this, we can see the unique feature of being close to people in Cheng Tai-Le's calligraphy.

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他以厚重的線條形成文字圖像，使用墨色或花青渲染背景。在這裡，他雖然強化了畫面的明暗對比，但是色彩與書法不再是

相對立的存在，而是融為一氣，相互映襯交織。他的作品乍看之下彷彿巫師的符篆，召喚出屬於他的灰魅語境，讓觀者進入並著迷。作品的氣勢和視覺效果，在當代書法家中獨樹一幟。程代勒講求從古典再出發，尋求演繹當代書畫特質的風格；但

也非一味迎合時代潮流，追求雅俗共賞，反而是在形式變革外，強化對書畫理論的深刻思索。在保有傳統筆法精華外，兼以

實驗精神融入創作，或結合西方藝術，呈現鑑古通今的作品。

在此次展出的作品〈奔雷〉中，文字如行雲流水，因為運筆速度而產生的飛白，就像賽車過彎道的胎痕，予人風馳電掣的感受，而潑灑的墨漬點點與留白就像劇場的打光，讓文字有一種強烈的視覺印象。另外，這次他展出的大部分作品，都大膽使用幾

何色塊來分割畫面，如〈許個幸福〉或〈人生如戲〉，讓人聯想起蒙德里安的簡潔明快，也賦予了作品現代感。〈一日清閑

一日仙〉裡，更出現了波浪狀的曲面色塊，搭配象形文字的不規則佈排，就像孩童在遊戲。而他選擇書寫的文字，取材自現代生活，語意直率，表現出有別於傳統書法的面貌。在〈行住坐臥〉一作中，方形斜角的空間與文字的圓弧轉折形成對比，

就像一個人安住在屋宇內，和語意相呼應。

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Cheng uses thick lines to form text images and renders the background with ink or cyan. In his works, he strengthens the contrast between light and dark in the picture, yet color and calligraphy are no longer opposed to each other, but integrated and intertwined with each other. At ﬁrst glance, his works seem like a wizard's talisman, summoning his enchanting context, allowing the viewer to enter and fascinate. The momentum and visual effect of the work are unique among contemporary calligraphers. Cheng Tai-Le emphasizes starting from the classics again and seeks to interpret the style of contemporary painting and calligraphy. However, he does not blindly cater to the trend of the times or pursue both refined and popular tastes. Instead, he deepens his thinking on the theory of calligraphy and painting in addition to the change of form. Besides retaining the essence of traditional brushwork, the artist also incorporates an experimental spirit into ink and wash creations, or combines Western art with his calligraphy to present his works that reﬂect the past and the present.

The work titled "Running Thunder" displayed in this exhibition shows a natural and ﬂowing style of writing in the text, and the blank space left by the speed of using the brush is like the tire marks of a racing car passing a curve, giving people the feeling of speeding. The splashed ink stains and the blanks are like the lighting of a theater, giving the text a strong visual impression. Also, most of his works exhibited this time boldly use geometric color blocks to divide the picture, such as "Make a Wish of Happiness" or "Life is Like a Play", which reminds people of Piet Mondrian's simplicity and clarity, and also imbues the works with modernity. The characters he chooses to write about are drawn from modern life, and the meaning is straightforward, presenting a different look from traditional calligraphy. In the work "Walking, Living, Sitting and Lying", the oblique square space contrasts with the arc turning of the text, just like a person living in a house, echoing the meaning of the text.

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