151
目錄 CONTENTS
目錄
CONTENTS
序 / 余彥良 Preface / YU Yen-Liang
003
李重重簡歷 LEE Chung-Chung Biography
創作自述
004
/ 李重重
Artist Statement / LEE Chung-Chung
008
寰宇攬勝．四時遊心－李重重現代彩墨的時空感性
/ 白適銘
Around the Universe with Wandering Four Seasons Spirits - Perception of Time / PAI Shih-Ming
人隨風過，自在花開花又落－再讀李重重
010
/ 鄭乃銘
People Pass by Along with The Wind, Flowers Bloom and Then Wither - On LEE Chung-Chung's Career / CHENG Nai-Ming
014
圖版 Artworks
019
圖錄 Catalog
137
李重重 | LEE CHUNG-CHUNG
序
PREFACE 2010 年尊彩搬至瑞光新館後，在偌大 600 坪的展覽空間裡，積極規劃了自 1950 年代末期至 1960 年達高峰的「台 灣現代藝術運動」等相關大型展覽。這一波戰後台灣最重要的藝術革命，是眾多藝術家裡最值得受矚目的，也 是帶給台灣最珍貴的文化成就。這當中有位重要的藝術家就是李重重。時至今日，現代水墨依然是亞洲藝術先 鋒之一，李重重在當時重男輕女的環境中，也是現代水墨的先行者，從無改變繪畫志向，而且可說是僅存具創 作活力，才情煥發的女性畫家。李重重運筆有其奔放快意，灑脫豪邁之勢，觀之忘俗，親之意遠，有宏大縱恣 之致，非矯揉造作之人，表現出水和墨交融的靈動線條，這樣的自信和靈性在男子亦少見，更況乎女子。儘管 年已 70，仍精力充沛，彷如 50 之人。無論繪製山水或裸女，都流露出她的多學多聞 ; 她在有形的景物上賦予 神靈，平淡中見詩情，清雅裡有餘韻，這都是她源自古人和父親的智慧裡，將之和經驗融會貫通後所獲得。這 位歷經半世紀的洗鍊、積澱，如今以能引領風騷的傑出藝術家，此次是在尊彩藝術中心的第二回個展，由知名 藝術史學者白適銘教授和資深媒體人鄭乃銘先生撰寫專文論述下，相信更能引領觀畫者領略出畫中獨到奧妙之 處。尊彩藝術中心期待藉由每檔精心策劃的展覽，成為亞洲乃至全球一處具有前瞻視野與深度歷史、文化關懷 的藝術機構，積極並努力不懈地為台灣藝術推展到廣大的國際舞台。
Since 2010, when Liang Gallery moved into a new building on Ruiguang Road, it has been organizing large-scale exhibitions reflecting on Taiwan Modern Art Movement, which started in the late 1950s and reached its peak in the 1960s, in an exhibition space of almost 2000 square meters. This movement marked the most important revolution in art in the post-war Taiwan by bringing up a great number of high-profile artists, and passing on the most precious cultural achievements to Taiwan. Lee ChungChung has been one of the main artists to be exhibited in these exhibitions. Today, modern ink painting is one of the most important art forms in Asia. Lee Chung-Chung, who has lofty aspirations for painting and is full of creative energy, has remained a forerunner of modern ink painting and become a talented female artist, even though at that time she was imposed by a patriarchal environment. Lee’s art manifests in unrestrained and daring strokes, free and easy momentum, allows the viewer to forget vexation and worry, and helps to achieve self-indulgence. She is a nonaffected person, who blends ink and water into quick-witted lines. Even a man sometimes lacks such confidence and spirituality, and here she is a woman. Although she is over seventy, yet she is still full of energy, just like a fifty-year-old person. Whether she paints landscapes or nudes, they all reveal her interdisciplinarity. She knows how to bring divinity into tangible scenery, how to discern poetry in insipidity, and how to express lingering charm of elegance. She derived it all from her father and the ancients and mastered it through experience. For over a half century, the artist has been accumulating wisdom through experience. Today she is known as an outstanding artist. This is the second solo exhibition by Lee Chung-Chung at Liang Gallery. For this occasion, the well-known art historian Prof. Pai Shih-Ming and media veteran Cheng Nai-Ming wrote articles on Lee’s works. I believe this will allow the viewers to even more appreciate profound places hidden in the paintings. Liang Gallery has been carefully and attentively planning every exhibition, therefore it has become an art center, which has a forward-looking vision, focuses on history and culture, and actively promotes Taiwanese art to the wider international audience.
尊彩藝術中心 董事長 余彥良 President of Liang Gallery, YU Yen-Liang
3
李重重
LEE Chung-Chung 1942 年出生於中國安徽 1942 born in Anhui, China
四歲時隨父母親移居台灣至今，自幼跟隨父親知名水墨畫家 李金玉先生學畫寫字。大學就讀復興崗政戰學校美術系，以 西方油畫的訓練，思考創新與突破，培養了不拘泥於傳統水 墨 的 宏 觀 視 野。1968 年 後， 她 加 入 了 劉 國 松 等 人 所 倡 導 的 「中國水墨畫學會」，開啟了具現代人情感與時代精神的水 墨風格。 1960 年代末以來，她數十年如一日的現代彩墨創作，可以說 是在此種兼顧現代與傳統的軌道中而被實踐的。拙與淡，可 以是審美準則，同時亦是科學理念、哲學思維及宗教精神， 反映水墨藝術中複雜的人文關懷與生命情調。水墨藝術藉以 傳達的是涵蓋東方人對天地萬物、山川草木、日月盈虧、四 時八方等的觀察體悟，反映不同人文學科內涵的產物。
李重重創作超過六十餘年，其性格開朗樂觀，畫風啟於對自 然的感受，而不受限於潮流與商業模式，是台灣戰後抽象藝 術的獨特代表藝術家。
When Lee Chung-Chung was four years old, she came to Taiwan with her parents. Lee’s father Lee Chin-Yu was a well-known ink painter. Having acquired the creative conscious and cultivation of the literati tradition and having received Western modern painting training in the Department of Fine Arts at Fu Hsing Kang College, the artist strived to discard doctrines and to build an individual path as a form of self-declaration. In 1968, she joined Chinese Ink Painting Study Association founded by Liu Kuo-Sung where she started developing a style of ink painting permeated with modernity and zeitgeist. Since the late 1960s, Lee Chung-Chung has been committed to creating works of modern color ink art – one could say they walk the line between modernity and tradition. “Clumsy” and “bland” can be seen as aesthetic criteria on one hand and as scientific theories, philosophical concepts, and religious/spiritual principles on the other, reflecting the complex human concerns and life sentiments presented by ink painting. Ink painting comprises Eastern peoples’ observations and experiences of the entire world around them – its flora and fauna, its mountains and rivers, the wax and wane of sun and moon, the four seasons and eight cardinal directions – and reflects the subject matter of different branches of the humanities. Lee Chung-Chung has been creating with cheerfulness for more than sixty years. Her painting style echoes the affection of nature and is not limited to any trends or by any business models. Lee is a leading representative of post-war abstract art in Taiwan.
李重重 | LEE CHUNG-CHUNG
年表 1965
政戰學校藝術系畢業，台北，台灣
1971
於凌雲畫廊水墨舉行個展，台北，台灣
1975
於美國文化中心舉行個展，台北，台灣
1978
於龍門畫廊舉行水墨個展，台北，台灣
1981
「中國現代繪畫趨向展」，賽紐斯基博物館，巴黎，法國
1984
於美國文化中心舉行個展，台北，台灣
1985-93
「第一屆至第九屆－亞洲國際美展」，首爾，韓國
1986
於大家藝術中心舉行個展，台北，台灣 「中國傳統繪畫之新潮流」，凡爾賽宮，凡爾賽，法國
1988
「台灣當代藝術創作展」，聖荷西埃及博物館，加州，美國
1990
於亞洲藝術中心舉行個展，陶森，馬里蘭州，美國
1991
於台北市立美術館舉行個展，台北，台灣
1992
於有熊氏藝術中心舉行個展，台北，台灣
1993
「中國現代墨彩畫展」，俄羅斯民族博物館，聖彼得堡，俄羅斯 「台北現代水墨畫」，上海美術館，上海，中國
1994
於國立歷史博物館舉行個展，台北，台灣 「中國現代水墨畫大展」，台灣省立美術館（今國立台灣美術館），台中，台灣
1998
於國際藝展空間舉行水墨個展，台北，台灣 「今日大師與新秀大展－台灣當代抽象藝術新風貌」，巴黎，法國
2001
於東海大學藝術中心舉行水墨個展，台中，台灣
2003
「亞洲國際美展」，香港，中國 「台灣現代水墨畫展」，北京國家博物館，北京，中國
2004
「台灣現代水墨畫展」，青島美術館，青島，中國
2005
「關渡英雄誌台灣現代美術大展」，國立台北藝術大學，台北，台灣
2006
「李重重心象水墨個展」，國父紀念館逸仙藝廊，台北，台灣
2007
於國立雲科大藝文中心舉行水墨個展，雲林，台灣 「台灣水墨畫精品展」，東京國立新美術館，東京，日本 「第三屆成都雙年展｜特別邀請展：水墨新動向－台灣現代水墨畫展」，成都，中國 「水墨變相－現代水墨在台灣」，台北市立美術館，台北，台灣
2008
於台南縣立文化中心舉行水墨個展，台南，台灣 於天使美術館舉行水墨個展，台北，台灣 「第二屆台北當代水墨雙年展」，台北市立美術館，台北，台灣
2009
「開顯與時變－當代創新水墨藝術展」，台北市立美術館，台北，台灣 「中國全國美展」，北京，中國
2011
「李重重現代水墨個展」，新時空文化時空藝術會場，台北，台灣 「百歲百畫－台灣當代畫家邀請展」，國父紀念館中山畫廊，台北，台灣 「2011 台北國際藝術博覽會」，台北，台灣
2012
「無美不作－李重重現代水墨個展」，藝星藝術中心，台北，台灣 「國際水墨大展暨學術研討會」，國父紀念館中山畫廊，台北，台灣
2013
「墨染心韻－李重重個展」，貝瑪畫廊，台北，台灣 「亞洲國際美術展覽會」，拉加達曼仁當代藝術中心，曼谷，泰國 「當代中國畫學術論壇暨學術展」，國父紀念館中山畫廊，台北，台灣 「台灣美術家『刺客列傳』1941-1950 三年級生」，國立台灣美術館，台中，台灣 「台灣現當代女性藝術五部曲 1930-1983」，台北市立美術館，台北，台灣
2014
「山水現象－李重重個展」，赤粒藝術，台北，台灣 「跨地域的水墨經驗－上海新水墨藝術大展」，喜瑪拉雅美術館，上海，中國 「典藏奇遇記－藝享天開詩與樂」，高雄市立美術館，高雄，台灣 「女人－家：以亞洲女性藝術家之名」，高雄市立美術館，高雄，台灣 「抽象．符碼．東方情－台灣現代藝術巨匠大展」，尊彩藝術中心，台北，台灣 「典藏．對話：演繹台灣當代水墨」，高雄市立美術館，高雄，台灣 「2014 高雄藝術博覽會」，翰品酒店、駁二藝術特區，高雄，台灣 「台灣美術散步道：1927-2014」，尊彩藝術中心，台北，台灣
2015
「三月三日天氣新」，尊彩藝術中心，台北，台灣 「2015 台南藝術博覽會」，台南大億麗緻酒店，台南，台灣 「山水風華－李重重個展」，尊彩藝術中心，台北，台灣 「返景入深林－當代水墨的內在觀照」，月臨畫廊，台中，台灣 「超驗與象徵－台灣新造形藝術展」，尊彩藝術中心，台北，台灣
2016
「綿綿若存－新進典藏展」，台北市立美術館，台北，台灣 「2016 藝術北京」，全國農業展覽館，北京，中國 「瀚墨芳華－李重重個展」，尊彩藝術中心，台北，台灣 5
年表 CHRONOLOGY
經歷 高雄市立美術館典藏諮詢委員，高雄，台灣 高雄獎水墨膠彩類評審委員，高雄，台灣 國立台灣美術館水墨類展覽評審委員，台中，台灣 台北市立美術館展覽評議委員，台北，台灣 國父紀念館展覽審議委員，台北，台灣 全國美術展水墨類評審委員，台北，台灣 全國美展、台北縣美展評審委員，台北，台灣 南瀛藝術獎水墨類評審委員，台南，台灣 南瀛獎雙年展水墨類評審委員，台南，台灣
獲獎 中國文藝協會現代水墨創作獎，台灣 國立歷史博物館金質獎章，台灣
典藏 國立歷史博物館，台北，台灣 台北市立美術館，台北，台灣 高雄市立美術館，高雄，台灣 國立台灣美術館，台中，台灣 亞洲藝術中心，陶森，美國 福岡美術館，福岡，日本 青島美術館，青島，中國
CHRONOLOGY 1965
Graduated from the Department of Fine Arts, Fu Hsing Kang College, Taipei, Taiwan
1971
Solo exhibition of ink paintings, Ling Yun Gallery, Taipei, Taiwan
1975
Solo exhibition, American Cultural Centre, Taipei, Taiwan
1978
Solo exhibition of ink paintings, Lung Men Gallery, Taipei, Taiwan
1981
“Exhibition on Trends of Modern Painting in China”, Cernuschi Museum, Paris, France
1984
Solo exhibition, American Cultural Centre, Taipei, Taiwan
1985-93
“The 1st-9th Asian International Art Exhibition”, Seoul, Korea
1986
Solo exhibition, Dachia Art Center, Taipei, Taiwan “New Trends in Chinese Traditional Painting”, Château de Versailles, Versailles, France
1988
“Taiwan Contemporary Creative Art Works Exhibition”, Rosicrucian Egyptian Museum, San Jose, CA, USA
1990
Solo exhibition, Asian Arts and Culture Center, Towson, MD, USA
1991
Solo exhibition, Taipei Fine Arts Museum, Taipei, Taiwan
1992
Solo exhibition, H&W Art Centre, Taipei, Taiwan
1993
“Chinese Modern Colour-and-Ink Painting Exhibition”, Russian Museum of Ethnography, Saint Petersburg, Russia “Taipei Modern Ink Painting Exhibition”, Shanghai Art Museum, Shanghai, China
1994
Solo exhibition, National Museum of History, Taipei, Taiwan “Chinese Modern Ink Paintings Exhibition”, Taiwan Provincial Museum of Fine Arts (now National Taiwan Museum of Fine Arts), Taichung, Taiwan
1998
Solo exhibition of ink paintings, International Art Exhibition, Taipei, Taiwan “Exhibition of Works by Today’s Masters and New Talents – Refreshing Images of Taiwan Contemporary Abstract Art”, Paris, France
2001
Solo exhibition of ink paintings, Tunghai University Art Gallery, Taichung, Taiwan
2003
“Asian International Art Exhibition”, Hong Kong, China “Taiwan Modern Ink Paintings Exhibition”, National Museum of Beijing, Beijing, China
2004
“Taiwan Modern Ink Paintings Exhibition”, Qingdao Art Museum, Qingdao, China
2005
“Kuan-Tu Heroes Chronicle – Taiwan Modern Art Exhibition”, Taipei National University of the Arts, Taipei, Taiwan
2006
“Ink Painting of Lee Chung-Chung”, Yat-Sen Gallery of National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
李重重 | LEE CHUNG-CHUNG
2007
Solo exhibition of ink paintings, Art Center of Yunlin University of Science and Technology, Yunlin, Taiwan “Taiwan Ink Painting Treasures Exhibition”, National Art Center, Tokyo, Japan “The 3rd Chengdu Biennale | Special Invitation – New Trend of Contemporary Ink Painting: Ink Works from Taiwan”, Chengdu Contemporary Art Museum, Chengdu, China “Ink Transformation – Modern Ink Painting”, Taipei Fine Arts Museum, Taipei, Taiwan
2008
Solo exhibition of ink paintings, Art Center of Tainan County, Tainan, Taiwan Solo exhibition of ink paintings, Angel Art Gallery, Taipei, Taiwan “The 2nd Taipei International Modern Ink Painting Biennial”, Taipei Fine Arts Museum, Taipei, Taiwan
2009
“Open Flexibility: Innovation Contemporary Ink Art”, Taipei Fine Arts Museum, Taipei, Taiwan “China Art Exhibition”, Beijing, China
2011
“Solo Exhibition of Lee Chung-Chung’s Modern Ink Paintings”, Starts Studio of Spatial and Timing Arts, Taipei, Taiwan “100 Taiwan Contemporary Invitational Exhibition”, Zhongshan Art Gallery of National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan “Art Taipei 2011”, Taipei, Taiwan
2012
“Solo Exhibition of Lee Chung-Chung’s Modern Ink Paintings”, Star Gallery, Taipei, Taiwan “International Ink Painting Exhibition and Symposium”, Zhongshan Art Gallery of Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
2013
“L’encre de Chine, Chant du Coeur – Solo Exhibition of Ink Paintings”, Pemalamo Gallery, Taipei, Taiwan “Asian International Art Exhibition”, Contemporary Art Center LAC Dammam, Jen, Bangkok, Thailand “Contemporary Chinese Painting Academic Forum and Academic Exhibition”, Zhongshan Art Gallery of Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan “The Pioneers of Taiwanese Artists, 1941-1950”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “Women Adventurers: Five Eras of Taiwanese Art 1930-1983”, Taipei Fine Arts Museum, Taipei, Taiwan
2014
“Landscape Impressions – Solo Exhibition of Ink Paintings”, Red Gold Fine Art, Taipei, Taiwan “On-site: Cross-contextual Ink Art Experience – Parallel Exhibition of Shanghai New Ink Painting Art Exhibition”, Shanghai Himalayas Museum, Shanghai, China “Marvelous Encounters in the Collection: On Wings of Music and Poetry”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Women – Home: In the Name of Asian Female Artists”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Abstract / Symbol / Oriental – Exhibition of Taiwan's Masters of Modern Art”, Liang Gallery, Taipei, Taiwan “Collection and Dialogue – Taiwan’s Contemporary Ink Painting”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Art Kaohsiung 2014”, Chateau de Chine, The Pier-2 Art Center, Kaohsiung, Taiwan “Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan
2015
“Freshness of March”, Liang Gallery, Taipei, Taiwan “Art Tainan 2015”, Tayih Landis Hotel, Tainan, Taiwan “Elegance of Landscape – Lee Chung-Chung Solo Exhibition”, Liang Gallery, Taipei, Taiwan “Exhibition of Contemporary Ink Painting”, Moon Gallery, Taichung, Taiwan “Transcendence and Symbol: The Exhibition of Neoplastic Art in Taiwan”, Liang Gallery, Taipei, Taiwan
2016
“Boundless Visions – New Acquisitions from the Permanent Collection”, Taipei Fine Arts Museum, Taipei, Taiwan “Art Beijing 2016”, National Agriculture Exhibition Center, Beijing, China “The Alluring Vastness of Ink – Lee Chung-Chung Solo Exhibition”, Liang Gallery, Taipei, Taiwan
EXPERIENCE Advisory Committee for Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan Examination Committee for Kaohsiung Awards, Kaohsiung, Taiwan Evaluation Committee for Exhibitions held at the National Taiwan Museum of Fine Arts, Taichung, Taiwan Evaluation Committee for Exhibitions held at the Taipei Fine Arts Museum, Taipei, Taiwan Evaluation Committee for Exhibitions held at the National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Examination Committee for National Art Exhibition, Taipei, Taiwan Examination Committee for National Art Exhibition and Taipei County Art, Taipei, Taiwan Examination Committee for the Category of Ink Paintings at the Nan-Ying Art Award, Tainan, Taiwan Examination Committee for the Category of Ink Paintings at the Nan-Ying Biennial Art Award, Tainan, Taiwan
AWARDS Modern Creative Ink Painting Award, Chinese Writers’ & Artists’ Association, Taiwan Gold Award, National Museum of History, Taiwan
COLLECTIONS National Museum of History, Taipei, Taiwan Taipei Fine Arts Museum, Taipei, Taiwan Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan National Taiwan Museum of Fine Arts, Taichung, Taiwan Asia Art Center, Maryland, USA Fukuoka Art Museum, Fukuoka, Japan Qingdao Art Museum, Qingdao, China 7
創作自述 ARTIST STATEMENT
創作自述 文｜李重重
一、生活憶往
二、古今畫語錄
一 九 四 七 年， 跟 著 父 母 搭 乘 中 興 輪， 隨 國 民 政 府 來 台。 當
齊 白 石（1864-1957） 提 出「 作 畫 妙 在 似 與 不 似 之 間 」，
時，居住在南台灣的台南縣和嘉義縣兩地（七股、布袋鹽田
他 認 為 應 揣 摩 作 畫 對 象 的 精 神、 捕 捉 其 神 韻 和 意 境； 石 濤
小鎮）。從長記性以來，台灣的鄉村生活，一直伴隨著我成
（1642-1718） 多 年 飽 覽 名 山 大 川， 以「 搜 盡 奇 峰 打 草 稿 」
長。孩提時貪玩，父親見我在外嬉遊不是辦法，便想出一個
的理念創造出理想化的景物與蒼鬱恣肆的獨特風格。這兩位
妙招，將他「藝術就是遊戲」的本領傳授給我，要我在畫畫
中國藝術史上的大師對於水墨藝術的理論，成為我最初創作
中遊戲……。
時的基本概念。
進入青少年時期，初中在嘉義朴子鎮東石中學就讀，受美術
林 克 恭（1901-1992） 老 師 曾 說：「 美 術 從 開 始 到 現 在， 即
老師吳添敏先生（梅嶺）教導，在其嚴格調教之下，訓練出
是一種符號，是抽象的」，這句話啟發我作畫先在畫布上畫
扎實底子，印象深刻；但對小小年紀的我來說，真的有些畏
幾條線，然後塗上幾塊不同的色調，進而引發出許多問題和
懼。高中時，因家父調職七股鹽場，轉到台南佳里北門高中
條件。我認為在畫面上先求得解決，使繪畫與現實脫開，其
讀書，此校注重學生美感教育之培植，現在許多傑出的藝術
格調就高。
家都出自此校。 1980 年 代， 趙 春 翔（1910-1991） 老 師 回 國 講 學， 我 有 幸 受 高中畢業，北上就讀大學，在北投大屯山邊，天天望著藍天
到他的指導。他提出「永遠超越自我者」、「追求完美的藝
白雲，上課畫畫，與大屯山遙遙相望，記憶猶深。假日，約
術生命」以及「自創風格，不拘不苟，風韻天成」，這些對
同學好友爬山，偷採陽明山橘子，那段少不經事的青春時光，
於創作的堅持與精神使我敬佩不已。
真是令人懷念。一九八二年，定居台北郊區木柵，算算日子， 已過了三十多年。假日跟家人爬爬山，在貓空、指南宮、樟
三、我的繪畫觀
山寺、猴山岳、發射台（中華電信）、皇帝殿等地，都留下 我們的足跡。
中 國 的 山 水 是 文 人 的， 天 地 一 體、 詩 情 畫 意 的 境 界。「 心 景」，乃創作深邃內涵、情懷的反映，從寫實、具象、抽象
在繪畫的歲月裡，創作是興趣，也是工作。一九七七年，第
循序漸進地轉化、發現。經過長期水墨實驗中的思考，做一
一次出國，赴歐洲參觀各大美術館、博物館，內心倍受震撼，
個藝術家，應該站在自己的路上，開闢自己的路子，去耕耘
立志成為藝術家，對自己的人生做一個圓滿的規劃。日後，
出自己的風格。
又前往印度、尼泊爾、錫蘭、東南亞各地；近幾年，舉辦個 展或聯展，與畫壇朋友同赴大陸各地聯展，欣賞大山大水美
年過半百，經常思索必須具備個人獨特的新形式，給予當代
景，收穫頗多。
水墨帶來強烈的現代感和深度，並從抽象水墨中吸取經驗， 發展另一種境界層次，始能使自己的作品令人百讀不厭。
在木柵的平日生活中，養了兩隻小狗，一名小虎（公狗）， 一名小黑（母狗），早晚都帶牠們到河堤散步、玩球。在創 作工作中，兩隻小頑皮都在我的身邊陪著，每天準備中餐、 晚餐時，牠們都會對著我叫，似乎在說：「媽媽，我餓了！」 幾年前，小虎、小黑先後都離開了，感謝牠們帶給我許多快 樂與溫暖。
李重重 | LEE CHUNG-CHUNG
Artist Statement Written by LEE Chung-Chung
I. Recollection of Life My parents and I, together with the Nationalist government, moved to Taiwan in 1947. After coming to Taiwan, we settled in the south of the island, at first in a small city Qigu in Tainan County, and later on in Budai in Chiayi County. As my memory recounts, when growing up in Taiwan, rural places had always been part of my life. As a child, I was fond of playing around. My father seeing me having fun would say that this is not the way to be in life. He even came up with a saying that “art is the game” in order to teach and impart me with the skills of this “game.” He wanted me to amuse myself while painting…
I used to keep two puppies, Little Tiger (male) and Little Black (female). Every morning and evening I used to take them out for a walk on the riverside or play ball. They were always sitting by my side, keeping me company while I was painting. Every time when I was preparing lunch or dinner, they were staring at me and yelping: “Mom, we are hungry!” Few years ago Little Tiger and Little Black left me. I am grateful for all the warmth and happiness they brought me. II. Quotations of Ancient and Modern Painters
When I was a teenager, I went to Tung-Shih Junior High School in Puzi, Chiayi County, for my junior high school years where I studied under art teacher Wu Tian-Min (Meiling). His strict guidance allowed me to develop solid foundations. I still retain a profound impression of him, yet for me, a little child, he seemed to be quite frightening. My father was reassigned to Qigu saltworks, therefore I had to transfer to Beimen High School in Jiali, Tainan, for my senior high school years where education was very much focused on the cultivation of aesthetics. Nowadays, many graduates of this school are known as prominent artists. After graduation from senior high school, I went to the north of island to study in university. I still remember how I used to sit at the foot of Datun Mountain in Beitou, every day look at the blue sky and white clouds, take painting classes, and appreciate a view of the sea from Datun Mountain. On weekends, my group mates and I used to go hiking and secretly plucked oranges on Yangminshan. It makes me feel nostalgic. In 1982, I moved to Taipei’s Muzha area, and when I count, it has been over thirty years since that year. On weekends, my whole family goes hiking to places like Maokong, Zhinan Temple, Zhangshan Temple, Houshanyue/Monkey Mountain, satellite communication stations in Yangminshan (Chunghwa Telecom), and Huangdi Temple. We have left our footprints in all of these places. Over the years, painting has become my interest and also my job. In 1977, I went abroad for the first time to visit Europe’s major art galleries and museums. It aspired me to become an artist and to create a plan how to be successful. Later I also visited India, Nepal, Ceylon, and Southeast Asia. In later years, I held either solo or group exhibitions. I was also invited to exhibit together with other painters in various places in mainland China where I enjoyed the beauty of the mountains and rivers. I learned a lot.
Chi Pai-Shih’s (1864-1957) deeply moving saying: “The wonder of painting lies somewhere between likeness and unlikeness.” “Prepare a draft based on the abundant observation of landscape” – Shih Tao (1642-1718) about creating an ideal landscape. Painter Lin Ke-Kung’s (1901-1992) inspirational words: “From the very beginning until now, art has been symbolic and abstract. When painting, I would always draw a few lines on the canvas, afterwards I would add few colors, hence initiating many questions and conditions. Obtaining a solution on the canvas, especially when reality and painting are disintegrated, proves of a great artistic style.” Chao Chung-Hsiang (1910-1991): in the 1980s he returned to Taiwan to give lectures and I am honored to have received his guidance. He described creation as “always going beyond the individual self,” “pursuit of a perfect artistic life,” and also emphasized that “one should not be restrained or lax whilst developing own personal style. The charm of the style should evolve naturally.” III. My Viewpoint on Painting In literary Chinese landscape, heaven and earth are inseparable. The landscape is the realm of poetic and pictorial splendor. “The vision of your heart” is profound cultivation, and reflection of feelings. Realism gradually transformed into figurism and abstraction. Through experimentation with ink, I realized that in order to become an artist and to develop a personal style, one should be on one’s course and find one’s own path. Being over fifty years of age, I often ponder upon developing a new unique personal style, and bringing certain strong sense of modernity and depth to contemporary ink painting. Experience gained from abstract ink painting has brought my creation into another level and made my works worth being appreciated a hundred times.
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評論 ARTICLE
寰宇攬勝．四時遊心 李重重現代彩墨的時空感性 文｜白適銘 國立臺灣師範大學美術系 教授
數百萬年來，在同一個宇宙蒼穹之下，自然世界透過演化，
在他人生的最終階段，更將該觀念提升至宗教層次，認為自
持續形成全然不同的物質體系，人類更因知識的快速成長與
然界無處不見上帝啟示，「 一切都像是含苞欲放的花蕾，充
大量開發資源，營造空前榮景，現代文明已然成為征服自然
滿生機」、「我所看到的每一事物，無不表達了莊嚴的《聖
的代名詞。然而，人類與自然萬物之間的關係，並非僅侷限
經 》 中 的 句 子：『 我 就 是 復 活 和 生 命 』」(1819)。 從 科 學、
於物質供需的層面，四時運行、八方移易之中，自然環境因
哲學到宗教，西方自然觀的意義，是一種以理性、知識為基
氣候、溫度等因素之更迭，在生態、水文、地理等方面產生
礎，並不斷積累心靈精神廣度、深度的人文化結果。人必須
無窮變化，千百年來，啟發無以數計的哲學家、文學家、科
從自然界中領悟上帝、真理，藉以了脫宿命。此種境界，與
學家及藝術家，藉以建立人類社會特有的歷史文化。
古代東方內斂而通達的自然觀遙相呼應。北宋理學家程顥在 〈秋日偶成〉即說：「萬物靜觀皆自得，四時佳興與人同」，
康 斯 塔 伯 (John Constable, 1776-1837)， 為 十 九 世 紀 英 國 著
認為自然界蘊藏宇宙精義，人類唯有面對自我內在，始能參
名風景畫家，在一八三六年的演講中曾說：
透箇中道理；而個人與群體，亦應建立四時運行般的和諧關
( 自然 ) 向我們展示它自己的構圖，遠勝過人類
係，民胞而物與。該句雖以文學手法加以表達，實則包含科
技 巧 能 做 出 的 最 佳 安 排。 …… 繪 畫 是 一 門 科 學， 應
學、哲學、藝術等不同層面的內涵，更可說是古來文人畫所
該 把 它 作 為 探 索 自 然 規 律 的 學 科 來 研 究。 那 麼， 為
刻意追求、具現的。
什 麼 風 景 不 可 以 看 作 是 自 然 哲 學 的 一 個 分 支， 而 繪 畫則不過是它的實驗呢？ 對他而言，自然巧奪天工，即便是藝術家亦無法傳達其中奧 妙，故而需要以自然科學的角度加以探索。他建議將風景視 為自然哲學研究的對象物，亦即，風景在於反映人類對自然 定理的深思與理解，繪畫只不過是此種探索、實驗過程中的 工具而已。
戰後，在台灣孕育、發展並獲致極大成果的現代水墨，借鑑 二十世紀西方前衛藝術形式、媒材，融合東方哲學思想、文 學情境，跳脫過往數百年的傳統束縛，形塑華人美術史上最 具現代性的繪畫類型。李重重是其中甚為少見、且具有西畫 學院訓練的女性水墨畫家。此種背景，反映二十世紀初期以
李重重 | LEE CHUNG-CHUNG
來「中體西用」思想在藝術現代化問題上的延續，她曾說：
一 九 六 ○ 年 代 末 以 來， 李 重 重 數 十 年 如 一 日 的 現 代 彩 墨 創
中 國 畫 必 須 注 入 現 代 觀 念 的 內 涵， 才 有 希 望； 過 去
作，可以說是在此種兼顧現代與傳統的軌道中而被實踐的。
那 些 試 驗 性 的 經 驗， 我 的 確 受 益 很 多， 但 現 在 做 起
拙與淡，可以是審美準則，同時亦是科學理念、哲學思維及
來，倍感親切，也體會得深刻多了。
宗教精神，反映水墨藝術中複雜的人文關懷與生命情調。不
中國畫的現代化必須具備「現代觀念」，透過對包含形式、 技法、媒材、創作理念等在內的各種問題進行「實驗」後， 始能完成。亦即，現代中國畫是一種全新的畫種，以呈現現 代美感經驗及時代精神為其總體目標。
論是山水、花鳥或人物，此種精神特質貫串其中，成為千百 年來亙古不易的真理，故而說：「中國的山水世人文的，天 地一體」，反映「詩情畫意的境界」，水墨藝術藉以傳達的， 是一種比基督教復活觀念更為久遠的永恆精神，涵蓋東方人 對天地萬物、山川草木、日月盈虧、四時八方等的觀察體悟，
現代水墨，是否僅是「不西不中」的文化混種？其實不然。
反映不同人文學科內涵的產物。
李重重認為一方面需表現「現代人的生活與情感」，與傳統 劃清界線；另一方面又需借用「 中國固有的精神與特質 」， 與傳統產生連結。對她來說，傳統中國畫「 不是附著於自然 的形貌，就是發自心中主觀的佈局」，缺乏複雜多元的造型 觀念、色彩經營及材質實驗，復因因襲成風，導致停滯不前。 然而，「中國固有的精神與特質」所指何義？她解釋，中國 畫在現代生活中必須扮演「移情」角色，認為「 工巧不如味 拙，甜美不如清淡」，拙與淡是浮華虛飾現代社會最為欠缺 的精神標竿。
經年對自然萬物的飽遊飫覽，以及對四季風候的心領神會， 已然成為李重重作品中最重要的外部生活體驗來源。為超越 由形似、神似兩極所樹立的既有規範，李重重將色彩、造型、 筆墨作為互為體用的元素，並在往返使轉、方圓點面、輕重 快慢、似與不似等近乎直覺、實驗的行動中，形塑個人的藝 術風格與美學特徵；同時，在活化「去巧甜、為拙淡」觀念 的催化下，李重重致力於轉化有形宇宙物象，進入無形個人 心象的領域，透過抒情感性方式對時間與空間進行沉思，重 構傳統水墨已然失去意義的古典人文精神，傳達現代人身心 眼的複合經驗，成就涵攝古今、跨足東西及兼容人我的「心 景」巨蹟。
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評論 ARTICLE
Around the Universe with Wandering Four Seasons Spirits – Perception of Time and Space in LEE Chung-Chung’s Modern Color Ink Painting Written by PAI Shih-Ming Professor, National Taiwan Normal University Department of Fine Arts
Millions of years ago, under the blue heaven of the same universe, the natural world underwent evolution, continually forming completely different material systems. Humanity’s speed in developing knowledge and large-scale exploitation of resources allowed it to achieve unprecedented prosperity. Modern civilization has already become synonymous with conquest over nature. However, the relationship between humans and the natural world is not merely limited to the aspect of material supply and demand. Within the cycling seasons and shifting directions, changes in climate, temperature and other factors are causing immeasurable transformations within the ecological, hydrological, geological and other aspects of our natural surroundings. For thousands of years, countless philosophers, writers, scientists and artists have been inspired to establish history and culture unique to human society. In an 1836 lecture, celebrated English landscape painter John Constable (1776-1837) said: [Nature] constantly presents us with compositions of her own, far more beautiful than the ones arranged by human. ...Painting is a science and should be pursued as an inquiry into the laws of nature. Why, then, may not a landscape be considered as a branch of natural philosophy, of which pictures are but experiments?
To Constable, nature is the world’s most ingenious artist. Nature’s splendor is more profound than artists can adequately express; artists must therefore pursue art from the perspective of natural science. He suggests seeing landscapes as an object of natural philosophical study – to see landscapes as a reflection of humanity’s theoretical concepts and understandings of nature, and painting is merely a tool with which to carry out enquiry and experimentation into it. In the later years of his life, Constable extended this notion into the area of religion, believing that God could be seen everywhere in the natural world: “everything seems to be full of blossom of some kind and at every step I take, and on whatever object I turn my eyes, that sublime expression of the Scriptures, ‘I am the resurrection and the
life,’ seems as if uttered near me.” (1819) From science and philosophy to religion, the meaning of Western conceptions of nature is a cultural product that begin on foundations of reason and knowledge and continuously accumulate spiritual breadth and depth. Humanity’s understanding of God and truth must come from the natural world, thereby allowing us to transcend fate. This kind of worldview echoes the ancient Orient’s restrained, philosophical conceptualization of nature. In the poem Chance Creation of an Autumn Day, Northern Song Dynasty neo-Confucian scholar Cheng Hao wrote, “All things in a contemplative manner attain what they need; In all seasons their beauty flourishes, just as with people.” Cheng Hao believed the natural world held the essence of the universe, which humanity can only grasp by facing the inner self. Moreover, individuals should establish a harmonious relationship with the world at large reflecting the cycle of the seasons, respecting the innate connection between everything and everyone. Although this maxim is expressed in a literary context, it actually implies scientific, philosophical, artistic and other layers of meaning; it represents the truth that intellectuals have tirelessly pursued and embodied since ancient times. The contemporary ink painting that emerged, developed, and achieved great success in post-war Taiwan reflects the integration of 20th century Western avant-garde art forms and media with an Eastern philosophical and literary context, extending beyond the restrictive traditions of the past few centuries and becoming the most modern form of painting in the history of Chinese art. Lee Chung-Chung is a rare specimen within the ink painting genre, a female artist who has received the highest amount of training from Western art institutions. This background reflects the persistence of artistic movements focused on adopting Western knowledge while maintaining core Chinese values that have been a part of the modernization of Asian art since the early 20th century. Lee says: Chinese painting must enter into the discourses of modern thinking if it is to have any hope of survival. My experimental experiences in the past certainly offered many benefits, but what I’m doing now is much more intimate and offers a much deeper experience.
李重重 | LEE CHUNG-CHUNG
The modernization of Chinese painting must possess “modern thought,” which can only be completed after its forms, techniques, media, creative theory and other aspects undergo a process of “experimentation.” That is, contemporary Chinese painting is a completely new kind of painting whose ultimate goal is to present modern aesthetic experiences and zeitgeists. Is contemporary ink painting a cultural hybrid that’s “neither East nor West?” Lee Chung-Chung believes it must express “the lives and feelings of modern people,” distinguishing itself from tradition; on the other hand, it also must possess “intrinsically Chinese characteristics and spirit,” demonstrating a connection with tradition. To Lee, traditional Chinese painting “does not adhere to nature’s own image, but rather to the subjective composition from the [artist’s] mind.” Its design concepts, color application and experimentation with materials lack complexity and diversity; repetition and copying is the common practice, leading to stagnation. But then, what exactly is meant by “intrinsically Chinese characteristics and spirit?” Chinese painting must assume the role of “changing sentiment” in modern life, Lee explains. She believes "clumsy is better than skilful, and bland is better than flavorful” – clumsy and bland are the mental benchmarks that our ostentatious and contrived modern society is most deficient in. Since the late 1960s, Lee Chung-Chung has been committed to creating works of contemporary color ink art – one could say they walk the line between modernity and tradition. “Clumsy” and “bland” can be seen as aesthetic criteria on one hand and as scientific theories, philosophical concepts, and religious/spiritual principles on the other, reflecting the complex human concerns and life sentiments presented by ink painting. Whether a painting depicts mountains and waters, birds and flowers, or people, the underlying spiritual characteristic that strings them together emerges as a timeless, immutable truth. Therefore, says Lee, “China’s ‘world of mountains and waters’ is a human phenomenon; everything on earth is connected” – reflecting “idyllic scenes,” what ink painting conveys is a kind of eternal spirit even more ancient than Christian resurrection mythology, comprising
Eastern peoples’ observations and experiences of the entire world around them – its flora and fauna, its mountains and rivers, the wax and wane of sun and moon, the four seasons and eight cardinal directions – and reflecting the subject matter of different branches of the humanities. Years of observing and admiring the wonders of nature and becoming intimately familiar with the turning of the seasons has already become the most important external real-life source for Lee’s works. Transcending existing norms established through binary facets of concrete and abstract likeness, Lee treats color, form and ink as elements in the interchange between ontology and epistemology. Moreover, through the kinds of movement that are close to instinct and experimentation – backward and forward, turning, circumference and area, weight and speed, similarity and difference – she forms an individual art style and signature aesthetic. At the same time, during the implementation of the “eliminate skilled and sweet in favor of clumsy and bland” concept, Lee devotes her efforts to transforming the phenomena of the tangible universe, entering an intangible field of individual conceptualizations and contemplating time and space through the expression of emotion. Lee reconstructs the classical human spirit that long since lost its meaning within traditional ink painting, conveying the complex physical, mental and visual experiences of modern people, fusing the ancient with the modern, and entering a vast “mindscape” of East-West and self-integration.
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評論 ARTICLE
人隨風過，自在花開花又落 再讀李重重 文｜鄭乃銘 當代藝術新聞 總編輯
繪畫，能教我們看這個世界；是細看而非只是隨便瞧瞧。 —羅斯金 (John Ruskin, 1819-1900)
1947 年， 李 重 重 5 歲， 隨 著 父 母 從 大 陸 遷 移 到 台 灣， 那 個
我認為你們看到的要比畫出來的東西重要。我教畫的目的，
時候全家是落腳於台南。長大之後，進入台北政戰學校藝術
是希望我的學生學著去愛大自然；而不是教他們盯著大自然
系唸書。離開了學校、卸下了軍職，李重重也並不是旋即就
去學習畫畫。羅斯金要年輕的學生懂得向大自然學習。而對
選擇當一位職業畫家；在工作的過程當中，倒是都能保有自
李重重來講，她則是走進大自然；不單純只是一種學習，更
己 對 藝 術 方 面 的 興 趣 與 表 現。 她 到 藝 工 總 隊、 到 中 華 電 視
是面對大自然學習思考與思辨。
台……，工作內容幸運地都能延續對於藝術的專長和愛好。 那個時候，華視屬於軍方系統，李重重在當時由知名的薇薇
分析李重重這麼多年所塑造出自己獨特的藝術語言，我歸納
夫人所主持《今天》節目，出任的工作等同於現在的美術設
出兩個主要的關鍵點：第一，她的家庭給了她最豐厚的倚靠
計。當時電腦還不普及，電視節目上的美術設計要做的事情
與自主權。李重重自己就說： 從學生階段到結婚，後來與藝
很多，小至節目上的字幕卡書寫、大到節目需要訪問關於美
術 界 的 同 儕 之 間 參 與 展 覽、 交 流， 我 的 每 一 個 階 段 角 色，
術方面的專業知識，李重重還得披掛上陣接受訪問。但她在
家庭所給的支持和自主，都是推湧著我不固守自封的主要力
華視一待就待了 12 年，她所看到與所接觸到的，都是當時社
量。第二，她學習美術、一路所領受的傳統美學教育則是她
會最具有時尚性的現代事物；李重重在日後面對自己創作表
另 外 一 個 重 要 基 礎， 這 個 基 礎 足 以 讓 她 在 不 同 階 段 的 旅 行
現能夠勇於嘗試力求改變，跟這段工作時間也有若干連接關
中，不斷累積出一股力量讓她透過觀察、思考，而有了能突
係。「我後來到復興美工教書、到國語日報教兒童美術，或
破傳統的不破不立衝勁。
者當年報紙副刊文學風氣鼎盛、需要為文章繪製插圖……， 我認為；這些工作都成為我之後專心從事創作，卻不願意只
在她早期的現代水墨人物主題方面，這個主題所出現近似素
是接受一成不變的繪畫表現，都是很重要的基礎。」
描性的人物，「景」的結構並不是那麼明顯，筆下所展現出 來的人物，不管是單獨一人或者群體，都具備豐腴的體態、
李 重 重 在 教 學 的 這 個 經 驗 與 感 受， 讓 我 想 到 英 國 藝 術 批 評
滿月的臉龐。李重重充分掌握住水墨的「水」和「墨」的交
家、也是一位社會改革家羅斯金說過的一段小故事。羅斯金
疊與衝撞，讓筆觸可以細如髮絲，甚至也如同沒有過於潤澤
是個非常喜歡把學生帶到戶外的老師，有一回就帶著學生們
的乾筆走勢，她就讓這樣的筆觸在行走間，慢慢地消失在整
到鄉間旅遊、寫生。但面對學生的寫生，羅斯金卻以「不忍
個構圖的線條鋪陳之下，可是卻充足保留了對主體輪廓的描
卒睹」四個字來形容。他忍不住對學生說：
寫。我稱這種筆觸為「出走」。但這樣的筆觸又因得到墨的
李重重 | LEE CHUNG-CHUNG
淋漓與暈染，而絲毫沒有失去了構圖的完整度。這樣的筆觸
這件作品很顯然是描述初春季節，植物才剛經過一季寒冬之
表現，到了後來她在風景題材上，都能看到更嫻熟的傳達。
後冒出身，身上兀自還留著幾許青澀，奼紫嫣紅也出落得愈 加 嬌 嫩。 李 重 重 在 運 用 粉 紫 和 baby blue 這 兩 個 顏 色 上， 就
李 重 重 早 期 的 素 描 人 物， 不 是 像 常 玉 (San Yu, 1901-1966)
讓紫色本身呈現一種陽光在背後穿透過的透明感，畫面的粉
運用中國書法的筆觸。李重重的人物表現，李重重不只是用
紫是輕靈的、完全沒有深春或夏季的沉滯色彩。這也就是說，
筆來結構人體，對那個時候她來講，她或許還沒有如此深切
顏色成為她表現「光」的「溫階」最佳的媒介。2014 年也有
感受到「人體風景」的真髓，更或者李重重還沒有以結構的
一件名為《怒放的生命》，這想必應該是描寫台北街頭常見
立體性來架設她所描繪的人體。透過清邈的筆觸，似有似無
的木棉花。李重重以特寫來架構這個主題，花開的燦爛，基
地遊走來勾勒出輪廓，墨韻的洗染也開始出現，她讓筆下的
本上並非是她著意想要述說的主軸。她讓枝頭上的桔橙與木
人物，不只是在交代一種出場；對人物題材的營造，更像是
棉花枝幹特有的深棕色，彼此成為畫面的對話，色的深與彩
在面對人生劇場。許多角色的進出，是個人也是群聚；是生
度的清亮，就這麼構成陽光下的鬧趣，這件作品寫得輕鬆，
命繁花盛景的書寫。
卻藏蘊著豐厚的心理愜意。
李重重不愧是一位喜歡旅行的人，她在她的風景創作裡面，
李重重固然擅於描繪景，但李重重更擅於觀察景。她讓生活
竟然把「光」給引進了畫裡！
的尋常，轉眼也成為生命風景的不尋常。
水墨的進展，固然能解決空間景的穿透；但對於光影的鋪陳，
李重重喜歡親近大自然，也樂於在創作中描繪大自然；可貴
則相對沒有特別去著墨。可是，李重重卻能做到這一點，她
的是，在她的作品當中，大自然是個更廣泛、中性的生命，
把大自然風景裡的「光」拿進來成為她作品中的層次變化。
不單單只是侷限一般人眼中所謂大山大水的豪奢。只是，她
這點，委實令人驚艷。
所選擇的題材與表現絲毫不減作品所展露的壯闊。她筆下的 壯闊，不見霸氣卻見氣順心靜，那份從心裡發出於外的清闊，
李重重在面對創作時，不會固守在對於單一素材或技巧的全
更能讀出她透過創作與大自然相處，同時也讓自己性格當中
然性使用，也就是說，她能去調解水墨與西畫不同材質的表
的不時興與人爭、不羨慕別人、不爭強好勝……愈加凸顯。
現方式，讓她從自然所感受到景緻，能夠以她個人覺得最貼
畢竟，沒有了汲營，自然也就沒有了慌亂，也就更能忠於自
切 的 方 式 來 表 現。 在 2013 年《 春 意 鬧 之 一 》 的 作 品， 由 於
己的恬靜，更能體會「人隨風過，自在花開花又落」的順情。 15
評論 ARTICLE
People Pass by Along with The Wind, Flowers Bloom and Then Wither – On LEE Chung-Chung’s Career
Written by CHENG Nai-Ming Editor in Chief, Chinese Contemporary Art News Magazine
Painting can teach us to see, to notice properly rather than gaze absentmindedly. —John Ruskin (1819-1900)
Lee Chung-Chung was five years old when, in 1947, she migrated with her parents from Mainland China to Taiwan. At that time the whole family settled in Tainan. In later years, she enrolled at Fu Hsing Kang College in Taipei to study at the Department of Fine Arts. After graduating and being discharged from military service, Lee ChungChung did not immediately choose to become a professional painter, yet during her work career she actually retained her interest in art and demonstrated her artistry. She worked at the Art Work Corps, Chinese Television System (CTS) and other places where, fortunately, she could cultivate her expertise and passion for arts. At that time CTS was a part of the military system where Lee Chung-Chung filled up the position of what nowadays is called artistic designer for the show Today, hosted by the famous Madam Weiwei. In those days, computer usage was not yet widespread, therefore Lee Chung-Chung had to attend on everything, from the show’s subtitles that had to be written on card boards, to the professional knowledge about art needed for the show. She stayed at CTS for 12 years, seeing and getting in contact with all the trending topics of social issues. In the future, Lee Chung-Chung, when working on her artistic expression, was brave enough to strive for changes, which is closely related with the time she spent at work: “Later, I went to teach at Fu-Hsin Trade and Arts School, I taught children art at the Mandarin Daily News, and I drew illustrations for newspaper’s literary supplements… I think these jobs evolved into my later commitment to creation. I refuse to believe that they were just static graphical representations, because they all were important basis of my development.” Lee Chung-Chung’s teaching experience and feelings reminds me of the British art critic and social reformer, John Ruskin. Once, Ruskin took his students out to sketch in the countryside, but when looking at the sketches he only used adjective “miserable” to describe them. He could not help but to tell the students: “I believe that the sight is a more important thing than the drawing and I would rather teach drawing that may make my pupils learn to love Nature, than teach them to learn to draw by staring at Nature.” Ruskin wanted his young
students to understand how important it is to learn from nature. In terms of Lee Chung-Chung, she enters the Nature, for her it is not just a way of studying, she confronts Nature in order to learn how to think and make intellectual inquiries. For many years I have been analyzing how Lee Chung-Chung has been shaping her own artistic language, thus noticed two main key points: first, family gave her the most impressive trust and autonomy. As Lee Chung-Chung said: “Through my every stage and role, family gave me support and independence, always pushing me to move forward to develop my strength: from the time I was a student to when I got married, then later when I started participating in exhibitions and exchanging with peers from the artistic circle.” Second, she studied Fine Arts. The traditional aesthetic education she received along her studies is another important basis. During different stages of her life, this foundation was enough to let her constantly accumulate strength through observation and thinking, also gave her a bold revolutionary impulse to break through conventions. In the modern ink portraits created during her early years, all the figures appearing in this theme are approximately sketched, yet the composition of the “scenery” is not very clear. All the characters shown in the paintings have plump bodies and round faces, no matter if it is a single person or a group of people. Lee Chung-Chung fully mastered overlap and collision of water and ink that is characteristic of ink painting, making strokes as thin as hair. Even using dry brush movements, which are not smooth, she let such strokes travel along the canvas, making them slowly disappear under the whole composition, but retaining enough to keep the main depiction of outline. I call this type of strokes “eloping.” Dripping and dyeing the ink rhythmically, without losing not even a bit of the compositional integrity, obtain such strokes. A much more skillful delivery of this strokes technique can be later seen in her landscape themed works.
李重重 | LEE CHUNG-CHUNG
The portraits sketched by Lee Chung-Chung in her early stage do not resemble the ones of San Yu (1901-1966), who used strokes common in Chinese calligraphy. In the figures depicted by Lee Chung-Chung, the body structure is not created just with the brush. As she mentioned, at that time she had not yet deeply felt the essence of “human landscape,” even more likely, Lee Chung-Chung had not yet set up her human body depiction according to a three-dimensional structure. Using lofty strokes, indistinct lines outline the contours, a rhythmic dyeing of the ink also starts appearing. The figures portrayed by Lee Chung-Chung and drawn with a brush represent more than a character. Appreciating them is like looking at a theatrical piece with many different roles performed in it. It is both an individual and a gathering act; it is life in full bloom. Lee Chung-Chung deserves to be called a visionary person. She unexpectedly inserts light inside her landscape painting! Ink’s shaping can undeniably solve space and scenery permeation in a painting. However, the representation of light and shades is not particularly related to inking techniques. Still, Lee Chung-Chung is able to do this by inserting the light of natural sceneries into her works as a variation for layers. This is the breathtaking part of her paintings. When creating Lee Chung-Chung does not adhere to completely use a single material or technique. In other words, she can bring together different materials and methods of Chinese brush painting and Western drawing that allows her to perceive the natural scenery, and enables her to personally discover the most suitable method of expression. The work Spring Awakening 1 (2013) clearly represents the beginning of spring. The plants are just coming out after getting through the winter, their bodies still carry unripe colors, the flowers are tenderly and beautifully opening up. Using two colors, purple and baby blue, Lee Chung-Chung lets the light emerge from the purple itself, while in the background a sense of limpidness breaks through. The purple
of this painting is ethereal, it does not have any stagnant late spring or summer tint. That is to say, color becomes her best method of displaying the thermal intensity of light. The painting named Life in a Bloom (2014) presumably depicts the flowers of kapok tree commonly present in the streets of Taipei. The artist structures this theme with a special feature: the radiance of blossoming flowers is basically the main topic she emphatically wants to narrate. She makes the orange tangerines on top of the branches and the dark brown kapok flower stems interact with each other, in this way colors depth and chromatic limpidness constitute the lively scene kissed by sunlight. This piece is easily composed, but hides a rich psychological coziness. Although she is good at depicting sceneries, but she is even better at observing them. She instantly transforms ordinary aspects of life into extraordinary sceneries of life. Lee Chung-Chung enjoys being close to nature, and with pleasure portrays nature in her paintings. The remarkable thing is that the nature in her works is a wide and neutral entity. It is not confined only to the wonders in the eyes of ordinary people, the so called great mountains and rivers. All the topics and representations she chooses do not diminish even if there is a bit of magnificence exposed in her pieces. The nobility of her works lay not in pressuring imposition, but in the sense of tranquility and comfort they evoke. The spark coming from the heart shows even better the creative process she goes through and the contact with nature she has. At the same time allows us to see her personality: peace-loving, not envious of others, not dominant. After all, when the one is not chasing fame or fortune, the anxiety disappears, it is easier to stay true to oneself, and it is possible to express the real meaning of a saying “People pass by along with the wind, flowers bloom and then wither.”
17
山水
Landscapes
19
大地之巔 THE SUMMIT OF THE EARTH 2016 水墨設色、紙本 Ink and color on paper 186×95cm
李重重 | LEE CHUNG-CHUNG
21
從越界到無界 FROM BOUNDARIES TO BOUNDLESS 2016 水墨設色、紙本 Ink and color on paper 186×95cm
李重重 | LEE CHUNG-CHUNG
23
東方情詩 ORIENTAL LOVE POEMS 2016 水墨設色、紙本 Ink and color on paper 186×95cm
李重重 | LEE CHUNG-CHUNG
25
幻影再現 A REAPPEARANCE OF A MIRAGE A 2015 水墨設色、紙本 Ink and color on paper 186×95cm
李重重 | LEE CHUNG-CHUNG
27
福臨大地 FORTUNE ON EARTH 2016 水墨設色、紙本 Ink and color on paper 95×186cm
李重重 | LEE CHUNG-CHUNG
29
給我一道彩虹 FIND ME A RAINBOW 2016 水墨設色、紙本 Ink and color on paper 95×186cm
李重重 | LEE CHUNG-CHUNG
31
萬水千山總是詩 TEN THOUSAND TORRENTS AND A THOUSAND CRAGS 2015 水墨設色、紙本 Ink and color on paper 186×95cm
李重重 | LEE CHUNG-CHUNG
33
顯象與潛在 DEVELOPMENT AND POTENTIAL 2015 水墨設色、紙本 Ink and color on paper 92.6×95cm
李重重 | LEE CHUNG-CHUNG
35
大地情愫 FEELINGS FOR EARTH 2015 水墨設色、紙本 Ink and color on paper 139×68.5cm
李重重 | LEE CHUNG-CHUNG
九月的風 SEPTEMBER WIND 2013 水墨設色、紙本 Ink and color on paper 139×68.7cm 37
時空聚會 TIME MEETING SPACE 2015 水墨設色、紙本 Ink and color on paper 92×94.5cm
李重重 | LEE CHUNG-CHUNG
39
玉山風華 ELEGANCE OF YUSHAN 2014 水墨設色、紙本 Ink and color on paper 95.2×186cm
李重重 | LEE CHUNG-CHUNG
41
怒放的生命 LIFE IN A BLOOM 2014 水墨設色、紙本 Ink and color on paper 68.5×139cm
李重重 | LEE CHUNG-CHUNG
43
雲夢繞山河 DREAMY CLOUDS AROUND THE MOUNTAINS AND RIVERS 2014 水墨設色、紙本 Ink and color on paper 95×186cm
李重重 | LEE CHUNG-CHUNG
45
雲想 ILLUSION 2014 水墨設色、紙本 Ink and color on paper 94.8×108cm
李重重 | LEE CHUNG-CHUNG
47
觀天地間 OBSERVING HEAVEN AND EARTH 2014 水墨設色、紙本 Ink and color on paper 179×95cm
李重重 | LEE CHUNG-CHUNG
49
無休止的天空 ENDLESS SKY 2014 水墨設色、紙本 Ink and color on paper 90.3×121.5cm
李重重 | LEE CHUNG-CHUNG
51
零度空間 NULL SPACE 2013 水墨設色、紙本 Ink and color on paper 107×94.5cm
李重重 | LEE CHUNG-CHUNG
53
大地有聲 SOUND OF THE EARTH 2013 水墨設色、紙本 Ink and color on paper 90.3×90.3cm
李重重 | LEE CHUNG-CHUNG
55
境之三 ENVIRONMENT 3 2003 水墨設色、紙本 Ink and color on paper 136.1×68.9cm
李重重 | LEE CHUNG-CHUNG
57
寫意
Impressions
59
隨風的歌 THE WIND'S SINGING 2015 水墨設色、紙本 Ink and color on paper 99.2×69cm
李重重 | LEE CHUNG-CHUNG
61
青色幻影 CYAN MIRAGE 2015 水墨設色、紙本 Ink and color on paper 67×69.5cm
李重重 | LEE CHUNG-CHUNG
63
化蝶 BUTTERFLY 2014 水墨設色、紙本 Ink and color on paper 59×90.4cm
李重重 | LEE CHUNG-CHUNG
65
雨季過後 AFTER THE RAINY SEASON 2014 水墨設色、紙本 Ink and color on paper 69.3×88.3cm
李重重 | LEE CHUNG-CHUNG
67
大地飛歌 RHYTHM IN THE AIR 2014 水墨設色、紙本 Ink and color on paper 67.7×68.5cm
李重重 | LEE CHUNG-CHUNG
69
青春 YOUTH 2014 水墨設色、紙本 Ink and color on paper 69.5×67.5cm
李重重 | LEE CHUNG-CHUNG
71
水石清華 CLEAN WATER AND STONES 2014 水墨設色、紙本 Ink and color on paper 66×65.5cm
李重重 | LEE CHUNG-CHUNG
73
靜空 QUIET EMPTINESS 2015 水墨設色、紙本 Ink and color on paper 46.5×53cm
李重重 | LEE CHUNG-CHUNG
水漫春意 SCENERY WITH WATER IN SPRING 2014 水墨設色、紙本 Ink and color on paper 25.3×34.5cm 75
和煦春風 WARM SPRING 2014 水墨設色、紙本 Ink and color on paper 34.5×44.5cm
李重重 | LEE CHUNG-CHUNG
幻彩 SYMPHONY 2013 水墨設色、紙本 Ink and color on paper 39.4×43.5cm 77
依依故園 HOMELAND 2013 水墨設色、紙本 Ink and color on paper 53×47.5cm
李重重 | LEE CHUNG-CHUNG
香頌之二 CHANSON 2 2012 水墨設色、紙本 Ink and color on paper 34.7×45.6cm 79
花園之境 THE GARDEN 2013 水墨設色、紙本 Ink and color on paper 68.7×68.7cm
李重重 | LEE CHUNG-CHUNG
81
春意鬧之一 SPRING AWAKENING 1 2013 水墨設色、紙本 Ink and color on paper 68.5×69.5cm
李重重 | LEE CHUNG-CHUNG
春意鬧之二 SPRING AWAKENING 2 2013 水墨設色、紙本 Ink and color on paper 68×69.2cm 83
幻影再現 B REAPPEARANCE OF A MIRAGE B 2013 水墨設色、紙本 Ink and color on paper 67×69.5cm
李重重 | LEE CHUNG-CHUNG
85
內化的走向 TOWARDS INTERNALIZATION 2013 水墨設色、紙本 Ink and color on paper 69.3×69cm
李重重 | LEE CHUNG-CHUNG
87
香頌 ODE TO FRAGRANCE 2008 水墨設色、紙本 Ink and color on paper 34.7×45.1 cm
李重重 | LEE CHUNG-CHUNG
香頌（花） CHANSON (FLOWER) 2010 水墨設色、紙本 Ink and color on paper 53×47cm 89
象外之象 ABSTRACTION 2012 水墨設色、紙本 Ink and color on paper 67×69cm
李重重 | LEE CHUNG-CHUNG
91
天籟 SOUNDS OF NATURE 2012 水墨設色、紙本 Ink and color on paper 80.3×69.2cm
李重重 | LEE CHUNG-CHUNG
93
綠島風情 GREEN ISLAND 2012 水墨設色、紙本 Ink and color on paper 69.2×68cm
李重重 | LEE CHUNG-CHUNG
95
草原風情 PRAIRIE LANDSCAPE 2011 水墨設色、紙本 Ink and color on paper 67.5×68.5cm
李重重 | LEE CHUNG-CHUNG
97
伴侶 COMPANION 2010 水墨設色、紙本 Ink and color on paper 67.7×69cm
李重重 | LEE CHUNG-CHUNG
99
紛夏 SUMMER DAZZLE 2011 水墨設色、紙本 Ink and color on paper 34.8×45.4cm
李重重 | LEE CHUNG-CHUNG
青春的戀歌 A LOVE SONG FOR YOUTH 2009 水墨設色、紙本 Ink and color on paper 34.5×34cm 101
逍遙遊 STROLLING IN FREEDOM 2004 水墨設色、紙本 Ink and color on paper 34.5×44.5cm
李重重 | LEE CHUNG-CHUNG
雲水 CLOUDS AND WATER 2002 水墨設色、紙本 Ink and color on paper 31.7×34.5cm 103
秋如醉 FALL EUPHORIA 2003 水墨設色、紙本 Ink and color on paper 68×69.5m
李重重 | LEE CHUNG-CHUNG
105
天之涯 SKY LIMITS 2002 水墨設色、紙本 Ink and color on paper 68×68cm
李重重 | LEE CHUNG-CHUNG
107
靜觀自在 OBSERVING AT EASE 2015 水墨、紙本 Ink on paper 139×69.5cm×2
李重重 | LEE CHUNG-CHUNG
109
寧靜的日子 A QUIET DAY 2015 水墨、紙本 Ink on paper 48×54cm
李重重 | LEE CHUNG-CHUNG
大地的對話 DIALOGUE OF THE EARTH 2015 水墨、紙本 Ink on paper 51.8×47.3cm 111
山野交響曲 SYMPHONY OF THE WILD 2015 水墨、紙本 Ink on paper 48×54cm
李重重 | LEE CHUNG-CHUNG
融合 FUSION 2014 水墨、紙本 Ink on paper 46×46cm 113
李重重 | LEE CHUNG-CHUNG
人物
Figures
115
閒情 LEISURE 2000 水墨設色、紙本 Ink and color on paper 30×30cm
李重重 | LEE CHUNG-CHUNG
期待 EXPECTATION 1995 水墨設色、紙本 Ink and color on paper 33.5×45cm 117
青春 YOUTH 1995 水墨設色、紙本 Ink and color on paper 33.5×44.5cm
李重重 | LEE CHUNG-CHUNG
戲曲 DRAMA 1995 水墨設色、紙本 Ink and color on paper 32.8×43cm 119
小倆口 LOVERS 1994 水墨設色、紙本 Ink and color on paper 39.5×29.3cm
李重重 | LEE CHUNG-CHUNG
遊戲人間 GAMES WORLD 1994 水墨設色、紙本 Ink and color on paper 38.2×28.5cm 121
透視人生 PERSPECTIVE OF LIFE 1994 水墨設色、紙本 Ink and color on paper 44.5×33.3cm
李重重 | LEE CHUNG-CHUNG
情緣 PREDESTINED LOVE 1993 水墨設色、紙本 Ink and color on paper 33.5×44cm 123
相依 DEPENDENCE 1993 水墨設色、紙本 Ink and color on paper 33.5×44.5cm
李重重 | LEE CHUNG-CHUNG
模特兒之頌 MODEL'S SONG 1993 水墨設色、紙本 Ink and color on paper 44.5×34.5cm 125
新新人類 NEW GENERATION 1993 水墨設色、紙本 Ink and color on paper 62.8×124.8cm
李重重 | LEE CHUNG-CHUNG
127
春 SPRING 1993 水墨設色、紙本 Ink and color on paper 33.5×43.5cm
李重重 | LEE CHUNG-CHUNG
心願 ASPIRATION 1993 水墨設色、紙本 Ink and color on paper 39.5×29.3cm 129
童趣 CHILDREN'S FUN 1992 水墨設色、紙本 Ink and color on paper 79×69cm
李重重 | LEE CHUNG-CHUNG
131
思 THINKING 1992 水墨設色、紙本 Ink and color on paper 69×68.2cm
李重重 | LEE CHUNG-CHUNG
133
東方再起 EAST'S RESURGENCE 1992 水墨設色、紙本 Ink and color on paper 68×69cm
李重重 | LEE CHUNG-CHUNG
135
圖錄 CATALOG
137
圖錄 CATALOG
20-21
大地之巔
24-25
從越界到無界
THE SUMMIT OF THE EARTH
FROM BOUNDARIES
2016 水墨設色、紙本 Ink and color on paper 186×95cm
TO BOUNDLESS
東方情詩
28-29
22-23
2016 水墨設色、紙本 Ink and color on paper 186×95cm
26-27
幻影再現 A
ORIENTAL LOVE POEMS
REAPPEARANCE OF A MIRAGE A
2016 水墨設色、紙本 Ink and color on paper 186×95cm
2015 水墨設色、紙本 Ink and color on paper 186×95cm
30-31
福臨大地 FORTUNE ON EARTH 2016 水墨設色、紙本 Ink and color on paper 95×186cm
給我一道彩虹 FIND ME A RAINBOW 2016 水墨設色、紙本 Ink and color on paper 95×186cm
李重重 | LEE CHUNG-CHUNG
32-33
萬水千山總是詩
34-35
TEN THOUSAND TORRENTS AND A THOUSAND CRAGS 2015 水墨設色、紙本 Ink and color on paper 186×95cm
顯象與潛在 DEVELOPMENT AND POTENTIAL 2015 水墨設色、紙本 Ink and color on paper 92.6×95cm
36
大地情愫
38-39
37
九月的風
FEELINGS FOR EARTH
SEPTEMBER WIND
2015 水墨設色、紙本 Ink and color on paper 139×68.5cm
2013 水墨設色、紙本 Ink and color on paper 139×68.7cm
40-41
玉山風華 ELEGANCE OF YUSHAN
時空聚會 TIME MEETING SPACE
2014 水墨設色、紙本 Ink and color on paper 95.2×186cm
2015 水墨設色、紙本 Ink and color on paper 92×94.5cm 139
圖錄 CATALOG
42-43
44-45
雲夢繞山河
怒放的生命
DREAMY CLOUDS AROUND THE MOUNTAINS AND RIVERS
LIFE IN A BLOOM
2014 水墨設色、紙本 Ink and color on paper 95×186cm
2014 水墨設色、紙本 Ink and color on paper 68.5×139cm
46-47
48-49
50-51
無休止的天空 雲想
ENDLESS SKY
ILLUSION
2014 水墨設色、紙本 Ink and color on paper 90.3×121.5cm
2014 水墨設色、紙本 Ink and color on paper 94.8×108cm
觀天地間 OBSERVING HEAVEN AND EARTH 2014 水墨設色、紙本 Ink and color on paper 179×95cm 54-55
52-53
零度空間 NULL SPACE 2013 水墨設色、紙本 Ink and color on paper 107×94.5cm
56-57
大地有聲 SOUND OF THE EARTH 2013 水墨設色、紙本 Ink and color on paper 90.3×90.3cm
境之三 ENVIRONMENT 3 2003 水墨設色、紙本 Ink and color on paper 136.1×68.9cm
李重重 | LEE CHUNG-CHUNG
60-61
62-63
64-65
化蝶 BUTTERFLY
青色幻影
2014 水墨設色、紙本 Ink and color on paper 59×90.4cm
CYAN MIRAGE 2015 水墨設色、紙本 Ink and color on paper 67×69.5cm
隨風的歌 THE WIND'S SINGING 2015 水墨設色、紙本 Ink and color on paper 99.2×69cm
66-67
68-69
70-71
雨季過後 AFTER THE RAINY SEASON
大地飛歌
2014 水墨設色、紙本 Ink and color on paper 69.3×88.3cm
水石清華 CLEAN WATER AND STONES 2014 水墨設色、紙本 Ink and color on paper 66×65.5cm
YOUTH
2014 水墨設色、紙本 Ink and color on paper 67.7×68.5cm
74
72-73
青春
RHYTHM IN THE AIR
2014 水墨設色、紙本 Ink and color on paper 69.5×67.5cm
75
靜空 QUIET EMPTINESS 2015 水墨設色、紙本 Ink and color on paper 46.5×53cm
水漫春意 SCENERY WITH WATER IN SPRING 2014 水墨設色、紙本 Ink and color on paper 25.3×34.4cm
141
圖錄 CATALOG
76
77
78
和煦春風
幻彩
WARM SPRING
SYMPHONY
2014 水墨設色、紙本 Ink and color on paper 34.5×44.5cm
2013 水墨設色、紙本 Ink and color on paper 39.4×43.5cm
79
HOMELAND 2013 水墨設色、紙本 Ink and color on paper 53×47.5cm
82
80-81
香頌之二
依依故園
CHANSON 2
花園之境
春意鬧之一
2012 水墨設色、紙本 Ink and color on paper 34×45.6cm
THE GARDEN
SPRING AWAKENING 1
2013 水墨設色、紙本 Ink and color on paper 68.7×68.7cm
2013 水墨設色、紙本 Ink and color on paper 68.5×69.5cm
83
86-87
84-85
春意鬧之二
幻影再現 B
SPRING AWAKENING 2
REAPPEARANCE OF A MIRAGE B
2013 水墨設色、紙本 Ink and color on paper 68×69.2cm
2013 水墨設色、紙本 Ink and color on paper 67×69.5cm
內化的走向 TOWARDS INTERNALIZATION 2013 水墨設色、紙本 Ink and color on paper 69.3×69cm
李重重 | LEE CHUNG-CHUNG
88
90-91
89
香頌 ODE TO FRAGRANCE 2008 水墨設色、紙本 Ink and color on paper 34.7×45.1 cm
92-93
香頌（花）
象外之象
CHANSON (FLOWER)
ABSTRACTION
2010 水墨設色、紙本 Ink and color on paper 53×47cm
2012 水墨設色、紙本 Ink and color on paper 67×69cm
94-95
96-97
天籟
綠島風情
SOUNDS OF NATURE
GREEN ISLAND
2012 水墨設色、紙本 Ink and color on paper 80.3×69.2cm
2012 水墨設色、紙本 Ink and color on paper 69.2×68cm
98-99
COMPANION 2010 水墨設色、紙本 Ink and color on paper 67.7×69cm
PRAIRIE LANDSCAPE 2011 水墨設色、紙本 Ink and color on paper 67.5×68.5cm
101
100
伴侶
草原風情
紛夏
青春的戀歌
SUMMER DAZZLE
A LOVE SONG FOR YOUTH
2011 水墨設色、紙本 Ink and color on paper 34.8×45.4cm
2009 水墨設色、紙本 Ink and color on paper 34.5×34cm
143
圖錄 CATALOG
102
104-105
103
逍遙遊 STROLLING IN FREEDOM 2004 水墨設色、紙本 Ink and color on paper 34.5×44.5cm
106-107
雲水
秋如醉
CLOUDS AND WATER
FALL EUPHORIA
2002 水墨設色、紙本 Ink and color on paper 31.7×34.5cm
2003 水墨設色、紙本 Ink and color on paper 68×69.5cm
108-109
110
寧靜的日子 天之涯 SKY LIMITS
2015 水墨、紙本 Ink on paper 139×69.5cm×2
112
大地的對話 DIALOGUE OF THE EARTH 2015 水墨、紙本 Ink on paper 51.8×47.3cm
2015 水墨、紙本 Ink on paper 48×54cm
OBSERVING AT EASE
2002 水墨設色、紙本 Ink and color on paper 68×68cm
111
A QUIET DAY
靜觀自在
113
山野交響曲
融合
SYMPHONY OF THE WILD
FUSION
2015 水墨、紙本 Ink on paper 48×54cm
2014 水墨、紙本 Ink on paper 46×46cm
李重重 | LEE CHUNG-CHUNG
116
117
118
期待 EXPECTATION
閒情
1995 水墨設色、紙本 Ink and color on paper 33.5×45cm
LEISURE 2000 水墨設色、紙本 Ink and color on paper 30×30cm
119
120
青春 YOUTH 1995 水墨設色、紙本 Ink and color on paper 33.5×44.5cm
121
戲曲 DRAMA 1995 水墨設色、紙本 Ink and color on paper 32.8×43cm
122
小倆口
遊戲人間
LOVERS
GAMES WORLD
1994 水墨設色、紙本 Ink and color on paper 39.5×29.3cm
1994 水墨設色、紙本 Ink and color on paper 38.2×28.5cm
123
124
情緣 透視人生 PERSPECTIVE OF LIFE 1994 水墨設色、紙本 Ink and color on paper 44.5×33.3cm
PREDESTINED LOVE 1993 水墨設色、紙本 Ink and color on paper 33.5×44cm
相依 DEPENDENCE 1993 水墨設色、紙本 Ink and color on paper 33.5×44.5cm
145
圖錄 CATALOG
125
126-127
新新人類 NEW GENERATION 1993 水墨設色、紙本 Ink and color on paper 62.8×124.8cm
模特兒之頌 MODEL'S SONG 1993 水墨設色、紙本 Ink and color on paper 44.5×34.5cm
128
129
130-131
春
童趣
SPRING 1993 水墨設色、紙本 Ink and color on paper 33.5×43.5cm
132-133
CHILDREN'S FUN
心願
1992 水墨設色、紙本 Ink and color on paper 79×69cm
ASPIRATION 1993 水墨設色、紙本 Ink and color on paper 39.5×29.3cm
134-135
147
思
東方再起
THINKING
EAST'S RESURGENCE
1992 水墨設色、紙本 Ink and color on paper 69×68.2cm
1992 水墨設色、紙本 Ink and color on paper 68×69cm
大地逸景 PLEASANT VIEW OF THE EARTH 2014 水墨設色、紙本 Ink and color on paper 90×90cm
大地逸景（局部） PLEASANT VIEW OF THE EARTH (A FRAGMENT) 2014 水墨設色、紙本 Ink and color on paper 90×90cm 147
發行人
余彦良
總經理
陳菁螢
出版者
尊彩國際藝術有限公司
策劃編輯
修天容、楊旻軒
美術設計
尊彩藝術中心
攝影
劉光智、梁銳全
印刷
日動藝術印刷有限公司
出版
2016 年 9 月初版
ISBN
978-986-92798-6-4
Executive Director
Yu Yen-Liang
Director
Claudia Chen
Publisher
Liang Gallery Co., Ltd
Editor
Daisy Shiou, Yang Min-Hsuan
Design
Liang Gallery
Photographer
KC, Leung Yui-Chuen
Printing
Jih-Tung Art Printing Co., Ltd
Publishing Date
First Edition, September, 2016
ISBN
978-986-92798-6-4