四季交響詩 ─ 張翠容 Symphony of Four Seasons Solo Exhibition by Liang Gallery

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2015 Solo Exhibition Symphony of Four Seasons

自然之音 ~ 談張翠容的創作世界文

陶文岳

美國頗富盛名的紀實作家大衛 ‧ 瑞夫 ( David Rieff, 1952- ) 在《戰爭的罪行》曾說過一段重要的話：「我們可能透過敘事去理解，但卻憑藉攝影去記憶。」的確，許多時候攝影記錄當下發生的人事地物，當我們日後再翻閱這些拍攝的舊照片時，往事如煙的記憶就會隨著思索的情緒翻湧而現，而對於敏感的藝術家而言，他們的眼睛就如同敏銳的攝影鏡頭，主動涉獵下情境，不管日後清晰與否，早已伴隨著生活體驗牢牢駐足於內心深層而揮之不去，對於藝術家張翠容的創作也是如此。她生在南投鄉下，從小在其心靈深處早已埋下了鄉間質樸環境的心性基礎。一切隨性自然變化，她喜歡研習花卉、蒔花茹草、探研花鳥草蟲間的物象姿態，觀察四季衍生、體會大地間變換的奧妙。當強調「純潔與自然」的本質與著重外在「現實和殘酷」的社會牴觸和比較下，更讓她沉澱自我，甘之如飴地寄託於理想烏托邦式的內心寧靜世界。

這是一個沉靜、愉悅、無污染，充滿明亮色彩的意象世界，張翠容創作的花鳥草蟲按著自然無憂規律的生活節奏而嬉戲，她希望藉此描繪出台灣豐饒的自然資源象徵，從畫面中體會與感受四季吟詠之音，這種源於萬物的靈動生命力，搭配草木扶疏隨風搖曳的視覺旋律，對她創作而言是再自然不過的事，也反映出其心理特質和內心世界的寧靜渴望，另一方面對比台灣混亂的社會現況，或許是她刻意烙印在心頭下有關記憶的理想化和對台灣社會時空運行軌跡下的反芻。

春和景明 2013 複合媒材、麻布 130.3×97.3cm (60F)

The Sound of Nature – A Peek into Chang Tsui Jung’s World of Art E S S AY

對於一位專業創作者而言，我常常好奇的是他們創作風格語彙是如何建立，對於張翠容來說，1983 年就讀於國立藝專夜間部美術科國畫組時 ( 現為國立台灣藝術大學 )，受業於李奇茂、黃光男、周澄、羅振賢和陳靜文等諸名師的專業指導，讓她學習到水墨領域的不同技法表現，另外她也非常服膺中國水墨大師張大千和任伯年的創作表現方式，兩位藝壇前輩大師的深厚水墨功力自不再話下，無論山水、花卉、人物等領域皆精擅奧妙，重要的是他們不囿於傳統格局束縛，能挑戰自我再造新境，影響她後來的寬廣視野與創作深度。當時張翠容除了在校創作努力專研古法外，還一心想突破傳統水墨的學院派風格規範，最後她選擇花鳥畫的路線，作畫以寫生手法為主，照片為輔，並加以靈活造型變通，成為實際的畫鵝專家，而有「鵝媽媽」雅稱。

張翠容在學期間即以精湛的寫實工筆畫囊括了不少重要官辦美術比賽的大獎，例如 1988 年的台灣省第四十二屆美展水墨類第一名 ( 省政府獎 ) 和同年的第十五屆北市美展水墨類第一名。畢業後她選擇到西班牙留學，1989 年和她未來的夫婿，即後來台灣知名的修復專家郭江宋一同在馬德里康普頓斯大學（Complutense University of 篁竹歌聲動 2012 複合媒材、麻布 130.3×97.3cm (60F)

Madrid）藝術學院專修西畫創作。在西班牙留學時期，他們倆人互相扶持照顧，並且有感於時間的寶貴，在課業上以拼命三郎式的用功學習，自然獲得良好成績。張翠容分別於 1991 年獲選西班牙馬德里康普頓斯大學藝術學院素描榮譽獎學金、1991 年獲選參加馬德里康普頓斯大學師生美展及「時鐘之屋」聯展，1992 年並入選西班牙 El Corte Inglés 沙龍美展和 1993 年的東方藝術家聯展於馬德里 Villasnueva。

她在馬德里康普頓斯大學藝術學院學習時，虛心受教於該校繪畫材料學的烏埃爾達都雷鳯（Manuel Huertas Torrejón 教授，1992~1993），她與郭江宋皆曾被短暫委任教授繪畫材料學的中國繪畫材料與技法課程，並與烏埃爾達都雷鳯教授研習繪畫材料的程序與應用，學習鑲金箔、金箔浮雕、蛋彩畫、酪蛋白、羊皮畫、綜合媒材等各質材的創作運用。聰穎的她將東西方技法適切的融會貫通，從國畫的筆法跨渡和轉換為使用油畫來創作，除了材質改變，其原意與本質不變，也就自然地形成了日後的個人風格。 5

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2015 Solo Exhibition Symphony of Four Seasons

在西班牙求學期間，張翠容同時接觸畢卡索（Pablo Ruiz Picasso, 1881-1973）與馬克斯．恩斯特（Max Ernst, 1891-1976）的創作，她覺得這兩位藝術巨匠都擁有強烈企圖心在藝術界全力以赴，他們創作多變的表現形式，且不斷創造新的視覺語彙與效果，是她相當敬佩的創新奇才。另外她與當代西班牙寫實大師安東尼歐 ‧ 婁貝茲 ‧ 卡西亞（Antonio López García, 1936-）的短暫接觸，也讓她見識到多元方位的創作領域表現，這些在西班牙豐富的學習經驗，皆令她的創作受益匪淺。

張翠容說：「她利用現代東西方繪畫材料學的特性與技巧，以『抽象的潑灑流動』表現手法與『薰染的筆觸賦色』技巧，搭配『手工打底肌理製造與貼金箔』技法，多層次勾繪出微妙、空寂、幽遠的超然之境大自然物象，如山水靈動、風、晴、雨、雪的變換與花、鳥、草、蟲的精妙為主題，加上個人人格精神的滲化與隱喻，來寄寓較為深層的意涵，創造出『形、意、神』兼備的繪畫風格。」

這讓我聯想起著名的新加坡畫家李曼峰（1913-1988）的油畫作品，雖然是西式表現的油畫創作，然而李曼峰擷取了嶺南派水墨薰染光影的精華融入於油彩中，讓畫面呈現出濃郁的東方水墨意境。張翠容的油畫和他比較，又有另一番層次上的不同展現。李曼峰的創作重現的是古典的東方氛圍，重情境光影的表現。張翠容的作品從表面上看，雖然表現和樂融融的畫面熱鬧景象，可是感覺上是一種心靈的補償作用，與記憶有關，源自於童年農家的自然回憶，另外則凸顯台灣現今社會逐漸消逝下的農村歡樂氛圍。

張翠容認為「殘酷現實的外在世界驅使她在藝術創作上更加想表現出內心世界的潛意識與理想畫面為主軸，希望感受到『快樂與舒暢』，正是內心反射的佈局，也是她創作的靈感與元素。雖然她的創作主要是追求『真善美』的本意，然而現實社會中的無情與醜陋，或多或少也是她刻意逃避的對象。」看她的寫實繪畫，雖然趨向精密描寫，因畫家本身對現今物質化、機械化社會的迴避，而顯現出某種心理與真

陽坡風暖雪初融 2014 複合媒材、麻布 80.6×100.3cm (40F)

The Sound of Nature – A Peek into Chang Tsui Jung’s World of Art E S S AY

近水花先發 2013 複合媒材、麻布 97.3×194.5cm ( 95 號 )

實社會的「距離」。從某些方面看來，這個距離的產生，也正反映出當前台灣社會所缺乏的景象與失落，和潛意識中對未來的不安與壓抑的紓放。

2015 年的元月應邀至尊彩藝術中心舉辦個展，她形容自己當前的繪畫風格，是「不中不西、又水又油，花前景後」，得自於「觀鳥、觀心、觀自然」的創作靈感與元素。喜歡以細膩的工筆畫法，表達與融入自然界的詩意與心意的「四季套繪」。張翠容覺得：「自己在進入 50 歲之後，這其間雖然經歷過修復師的歷程，以及成為專業畫家，謙和的個性選擇藝術創作的特色以模仿、轉化、挪用為創作本位，但在現實上，她卻擁抱藝術多元的開放性，對未來『創新性』的藝術開發，有極高的自我期許與要求。」對於一位創作執著的畫家而言，我們看到了張翠容的熱情與生命力，她將以更從容的態度按著計劃平穩的步履，邁開步伐迎向未來……。

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2015 Solo Exhibition Symphony of Four Seasons

The Sound of Nature – A Peek Into Chang Tsui Jung’s World of Art Written by Tao Wen-Yueh

David Rieff, the famous nonfiction writer, has once said in his book Crimes of War that “(w) e may understand through narrative, but we remember through photographs.” Indeed, photographs capture the moment. When we go through the photographs of the past, the memories come back to us with stirring emotions. For sensitive artists, their eyes are as sharp as camera as they actively participate in the situation. No matter the image is clear or not, it is rooted deep inside the heart with our life experiences. Chang Tsui-Jung’s art is no exception. Born in the countryside in Nantou, the simplicity and purity of Nature has become the spiritual foundation of her art, through which she follows the natural laws instead of forcing it. She likes exploring the secrets of flowers, birds, plants, and insects. In their lives, she learns the mystery of the changing seasons and the ephemerality of the land. Seeing the contrast between the “pure and natural” essence and the “real and cruel” appearance, she returns to her inner self, finding peace in the Utopia she builds in her heart. It is a tranquil, pleasant, and unpolluted world of image with bright colors. The plants and the creatures in Chang’s artworks live a carefree life as they follow the natural laws. In their blissful frolic, the artist hopes to visualize the symbols of Taiwan’s rich natural resources, fully perceiving and capturing the sound chanted by the four seasons. The vitality originating from all living things is accompanying the visual melody of the grass and the trees dancing with the breeze. Everything seems so natural in her works, which not only reflects her inner desire for a peaceful world as shown in her psychological personality but also provides a comparison to the chaotic society of the current society in Taiwan. Perhaps, the idealized memory that emerges from the bottom of her heart is the artist’s introspection on the path of the society in terms of time and space.

Peach Blossom in Spring Harmony

2013 Mixed media on linen 130.3×97.3cm (60F)

The Sound of Nature – A Peek into Chang Tsui Jung’s World of Art E S S AY

When talking about an artist by profession, I am more curious about how they establish their unique artistic style. In the case of Chang, she studied in the Evening Division of the Department of Fine Arts at the National Taiwan College of Arts (now the National Taiwan University of Arts) in 1983 under the guidance of great masters such as Lee Chi-Mao, Huang Kuang-Nan, Chou Chen, Lo Cheng-Hsien, and Chen Ching-Wen, where she learned the various skills of ink-wash painting. Meanwhile, she was deeply impressed by the works of the Chinese ink-wash masters Chang Dai-Chien and Jen Po-Nien for that they not only demonstrated solid skill in ink-wash painting ranging from landscape, flowers, to human portraits but also challenged the conventional composition to create a brand new artistic vision. Their works significantly influenced Chang’s future prospect and horizon. When Chang was working hard to study the ancient technique in school, she also attempted to break through the academic style in traditional ink-wash painting. Eventually, she chose bird-and-flower painting as her major artistic theme, integrating still life painting with photographs. Transforming the images with creativity, Chang became a real master of “goose painting” and won the title “Mother Goose.” When Chang was still in school, she won several art awards in major government-run Music Lingering in Bamboo Groves 2012

Mixed media on linen 130.3×97.3cm (60F)

competitions with her skillful traditional Chinese naturalistic paintings, including the First Prize in the 42nd Taiwan Provincial Fine Arts Exhibition in the category of ink-wash painting in 1987 and the First Prize in the 15th Taipei Art Exhibition in the category of ink-wash painting in 1988. After graduating, she decided to advance her artistic training in Spain. In 1989, she entered the College of Arts at the Complutense University of Madrid with a major in Painting Creation with her future husband Kuo Chiang-Sung, who later became a famous art restorer in Taiwan. When they studied in Spain, they took care of each other. Realizing that time was precious, they worked as hard as they could in their academic studies and had good grades in return. Chang was awarded with the Honorary Scholarship for Sketch by the Complutense University of Madrid in 1991. In the same year, she was selected as the exhibiting artist in the exhibition organized by the Complutense University of Madrid in 1991, featuring both the students’ and the faculty’s works, and the group exhibition “Clock House”. In 1992, her works were included in the salon exhibition by El Corte Inglés in Spain. In 1993, she joined the group exhibition “Villasnueva” in Madrid, which featured a group of artists from Asia. When she was at Complutense University of Madrid, she studied with Professor Manuel Huertas

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2015 Solo Exhibition Symphony of Four Seasons

Torrejón who taught theory of painting material in the college. Between 1992 and 1993, both Kuo and Chang were assigned to teach Chinese painting material and painting skill in the class of painting material, where they studied with Professor Manuel Huertas Torrejón about the procedure and the application of various materials, including gilded painting, gilded relief, tempera painting, casein painting, mixed media, and etc. She thus cleverly integrated the Western and the Eastern skills, adopting brushwork of traditional Chinese painting in the use of oil painting. Although the material was different, the essence and the concept were the same, which soon became her signature. When she was studying in Spain, Chang learned about the art of Pablo Ruiz Picasso (18811973) and Max Ernst (1891-1976) and was impressed by their fully devotion as well as their strong passion and ambition. She admired the great variety of their artistic expressions and the continuously developing creativity in their visual vocabulary. Meanwhile, a brief encounter with Antonio López García, the contemporary Spanish master known for his naturalistic painting, showed her the multiple possibilities in art making. These wonderful experiences in Spain played a significant part in her future career. According to Chang, “I adopt the unique quality and skills of modern painting materials from the East and the West, combining the expressions of ‘the abstract fluidity’ and ‘the washing coloring of the strokes’ with the technique of ‘revealing texture of the base coat and gilding,’ visualizing the spiritual scene of the landscape which is subtle, tranquil, and transcend in multiple layers, including the transformations of wind, sunshine, rain, snow, and various natural phenomena as well as the wonderful flowers, birds, grass, and insects. Meanwhile, the metaphors of one’s spirit absorb the deeper idea, establishing an artistic style based on ‘form, meaning, and spirit.’ ” It reminds me of the oil paintings of the Singaporean artist Lee Man-Fong (1913 － 1988). Although he painted in the Western style, we could see how he integrated Linnan School’s shades watering with oil paint and created a more expressive touch in the Eastern ink-wash painting. Compared with his works, Chang’s oil paintings feature a different kind of visualization. Lee’s paintings recreate the ancient/classical spirit of the East because of her emphasis on the light and shades of the scene. In Chang’s paintings, the images might capture the happy

Snow Melting Under Warmth 2014

Mixed media on linen 80.6×100.3cm (40F)

The Sound of Nature – A Peek into Chang Tsui Jung’s World of Art E S S AY

and festive scenes, but they are more like the spiritual redemption originating from memory – the childhood memory of the happy farm life. They further remind us of the past pastoral joy which can no longer be seen in the modern society in Taiwan. Chang believes that “the cruel real world surrounding me has been forcing me so that I am more and more eager to express the ideal images from my subconciousness and my inner world. I want to feel ‘happy and relaxed.’ The composition of my inner reflection becomes the main inspiration and artistic theme in my works. It is true that Flowers Near the Water Bloom Earlier 2013

Mixed media on linen 97.3×194.5cm ( 95 號 )

I want to pursue the essence of ‘truth, virtue, and beauty’ through my artistic practice, but I also want to avoid the heatless cruelty and the hideousness in the real world.” Although her paintings adopt the Chinese naturalistic style, the painter reveals certain distance between the heart and the real world as she avoids the materialization and mechanization of the society. In some aspect, the distance reflects a sense of loss of the current situation in Taiwan caused by the uncertainty of the future and the release of the suppression in the subconscious level. Chang was invited by Liang Gallery to hold her solo exhibition in the January of 2015. She describes her current painting style as “non-Eastern-non-Western, half-water-half-oil, and between flowers and scenery,” while the inspiration and the artistic concept come from her “observation on birds, hearts, and Nature.” Chinese naturalistic expression is always her favorite, through which she integrates the poetics and the spirit of Nature in “Four Seasons.” “When I reached my 50s, the experience of art restoration, being a painter by profession, and the humble personality have made me go with imitation, transformation, and appropriation in my artistic practice. However, I also have a higher self-expectation to wider my artistic creativity.” We see the passion and the vitality of this dedicated artist. She will definitely march toward a brighter future with her strong solid steps.

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2015 Solo Exhibition Symphony of Four Seasons

彩羽翩然，四季自在悠然走訪張翠容畫中的祕境花源文

廖潤佩

「夏天的漂鳥，來到我窗前，歌出啁啾聲，然後翩然離去」

— 漂鳥集，泰戈爾

在細雨霏霏的午後走進張翠容位於新店山上的頂樓「玫瑰畫室」，遙望遠處峰嵐疊嶂水墨式的靈雨空山，心想她應該是常在這雲霧瀰漫繚繞的天氣裡構思畫中飛瀑與水蘊溼氣深處的詩意裊裊吧 ! 如此世外與清靜的居所讓城市的喧囂頓時被拋到九霄雲外，也令人想起李白詩歌「古風」裡的詩句：「一往桃花源，千春隔流水」。這裡一草一木有她巧手的佈局，更是她為自己的畫作主題做實物花鳥觀察與靈感草創的天然實驗室。昨日雨驟、今日驕陽，歲月四季的更迭流轉就在畫室外的窗前日日上演。從 2011 年第一次個展「心境之航」展現豐沛的題材與可能後，此次展覽延續於 2012 年「清風映月」個展中專注發揮的寓意式主題性套畫，個展中大部分畫作均以四季、花鳥、山水為題而造景入畫，台灣自然生態的聲音也在巧手鋪陳中總動員。東方水墨工筆慣有的主題加上西方油畫細膩的寫真技巧與畫法，張翠容使用以中為底、以西為進的概念，在多媒材創作中先將畫面的背景部份以壓克力顏料潑染處理，有意無意以自動技法表達抽象律動自然的巧妙，而前景聚焦部份的油畫花

May the Colored Birds Soar Gracefully and Freely in All Seasons: A Leisure Visit to the Secret Paradise in Chang Tsui-Jung’s Artworks E S S AY

鳥景物有超寫實主義或照相寫實的造境創景的效果，彷如攝影技術中焦距景深遠近與畫面清楚模糊間的柔焦交互效果。張翠容也說過她在西班牙馬德里留學四年時間短暫接觸過現代大師東尼歐 ‧ 婁貝茲 ‧ 卡西亞（Antonio López García, 1936-），也非常欣賞大師伊圖阿爾多．那郎荷（Eduardo Naranjo,1994-）的超寫實技法。張翠容以主題套畫創作並選詩釋題，我們也許能用文學敏感度以詩入畫式的讀讀畫中意境。

此次展覽中巨幅尺寸的雙聯幅山水大景「草山韭芒複秋色」中綠映芳草鮮美，落英草山韭芒複秋色 2014 複合媒材、麻布 145.5×220.2cm ( 160 號 )

繽紛，秋色葦芒中紫鷺、栗鷺等鷥鷥水鳥棲地而息，「彩飛夢幻水沙連」裏彩虹色系的鸚鵡以十全十美之姿流連紅花綠意春光，兩幅畫作分別以磅礡氣勢描繪草山與舊名是水沙連的日月潭；另一畫作中，我們也與柿子樹與鸚鵡登高遠望俯瞰大台北盆地與蜿蜒緩緩出海的淡水河。四季系列裡花鳥不缺席，鳩雀徘迴於湍湍流水激石上，悠悠的紫藤在春意中微緩輕盪；珠頸鳩、金赤雀、紅蜻蜓圍繞著夏季成熟的金穗稻香飛翔，秋蟬在金絲竹林秋色裏長鳴，冬季台灣高山上的紅綠蘋果在冷冽中仍枝枒滿載；初春蒼蒼翠綠的嫩葉與盛開的桃花相輝映，日月潭的湖光山色也近在眼前。天際落日的霞光幻彩為背景，壽帶鳥與畫眉歸憩清風竹松林中；金絲竹叢中翠鳥清吟與飛瀑水濺同聲齊唱。呈現雞冠花上戴冠公雞的畫面中有冠上加冠的隱喻，屬於台灣特有種的彌猴家族在雲霧間則有高山松與竹林陪襯；風暖花開向陽裏春雪初融，百岳湧雲霜寒間玉山圓柏浮現；在風裁日染裏綠繡眼秘密低調地在美艷的茶花叢與風間輕輕顫動。

四張一套的瓶花系列裡滿室清香隨風來，梅花先來報早春，酒紅雀已站枝頭；茶花、櫻花、紫籐繽紛柔美，婆娑芬芳，都似花期短暫的青春。茶花開的美豔，落得決絕又自重的不拖泥帶水，全面綻開時也不惜一落，在開的最美的時候，像不該回頭應該捨棄過去的重情女子；櫻花讓人聯想起懷春愛作夢的少女，清新有如粉櫻飛雪；紫藤纖纖婉約又柔情牽掛是門前溫暖的守候，也是早春美好的等待；牡丹與芍藥好 13

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2015 Solo Exhibition Symphony of Four Seasons

整以暇，彷如雍容華貴的少婦，淡胭脂中各自美麗。在閒情系列中，秋老虎暖陽下的貓兒已慵懶熟睡，多彩斑斕的鸚鵡也才能安然的靠近窗邊的几桌；藍瓷瓶中秋柿秋菊映松葉海芋，也預告季節將進入大地休憩的時節。在貓兒慵懶而百無聊賴的盤據佔躺在藝術雜誌堆前，背後卻是有些代表自戀的水仙，彷彿是寵物控訴埋頭自信創作的主人忘了牠求寵的等候。代表富貴的牡丹、芍藥粉艷地躺在靛藍太師椅上的皇朝黃花瓶中，已搶下一朵木蘭花的貓咪緊握戰利品，而另一隻貓兒也正蓄勢待發準備一躍摧花……。

在橫幅系列作品中白鷺鷥高高盤據，從蓊鬱青翠的竹林裏望向湛藍海洋中的龜山島，其實又何嘗不是高居台北盆地上的畫家遙望想念宜蘭的原鄉 ? 瀑布流水聲中樂見鳶鴦成雙護子，孤挺與牽牛花奼紫嫣紅爭豔；沙勒竹與木棉花盤枝糾纏，綠繡眼與白頭翁在海島氣候的潮濕水氣中歡喜相伴；鴿子與珠頸鳩在雨後充滿高山濕氣的台灣山櫻花上駐足。孔雀家族其實可以視為畫家及家庭自畫像，與夫婿投身於有如為人作嫁的畫作修復工作十五年之久，為家庭與夫婿貢獻了事業的成功光環與絢爛開屏後，張翠容終於走出隱姓埋名的暗處為自己的藝術視野與原創發

小寒三候始雍容

聲，棲息多年的婉轉夜鶯清唱也期盼一日成為白晝攸光下彩羽高啼的孔雀。有趣

2014 複合媒材、麻布 91×60.7cm ( 28 號 )

的是她也在孔雀腳下留下 QR code，嚮往自然中我們的智慧手機身份證代碼仍在科技世界裡如影隨形。

桃花紅粉綴綠竹，雀鳥啁啾春意鬧；高昂的雞冠花與螃蟹也構成一幅和諧又特殊的畫面；冬日裡從阿里山的桂竹林間遠望巍巍高聳的玉山景色，暖雨晴風中可以清楚辨識出阿里山與玉山國家公園裡的姐妹潭與夫妻樹一景與夾雜在符碼山水的高山圓柏；合歡山、玉山的抽象杉林印象四季秀麗；綠島也在粉彩柔情的牡丹浪花苞蕾中綻放浮出水面，小島有如塵世化外的淨土與仍未開闢的處女地，鳥瞰藍海不是藍海，伊人總是眷戀花顏。

May the Colored Birds Soar Gracefully and Freely in All Seasons: A Leisure Visit to the Secret Paradise in Chang Tsui-Jung’s Artworks E S S AY

滄海對青蒼翠色 2013 複合媒材、麻布 97.3×194.5cm ( 95 號 )

現代生活裏；城市已逐漸取代原野山林，過去天真漫漫的自然風景成為畫家心中被世人遺忘放棄的失樂園，即使在遙遠的田鄉，水泥叢林正蠶食原來美好的土地記憶；花開花謝，春去秋來，美好過的晨曦與夢幻過的日落也許也如每年的春日難再重複雷同。然而大自然永遠為我們準備無盡的驚奇，一花一草一宇宙，喜樂並非無處尋，在她的玫瑰畫室裏她可以在畫裡沉澱淡靜繼續保有心中的夢土。花開記春不記歳，落英繽紛裏能否盡心性而朱顏未改 ? 種桃盼春，戲花觀鳥，花鳥間可以相見相問，山水中猶能婆娑曼妙。一去不再的自由小鳥可能在紛紛靡雨氤氳中回首霑巾 ? 巒露重霧風華裏也許復得渺渺青春 ? 心寄山水為復性，花幽草香尋天涯，張翠容邀請我們進入她的祕密宇宙以再創心靈與理想人生的仙境桃花源。山水裏彩羽翩然，漂鳥們四季自在 !

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2015 Solo Exhibition Symphony of Four Seasons

May the Colored Birds Soar Gracefully and Freely in All Seasons: A Leisure Visit to the Secret Paradise in Chang Tsui-Jung’s Artworks Written by Liao Jun-Pei

“Stray birds of summer come to my window to sing and fly away.” --Stray Birds , Tagore During a drizzling afternoon, I walk into Chang Tsui-Jung’s “Rose Studio”, an attic located on the hills in Xindian. Gazing out over the misty, dreamlike mountains, the view from there seems like an ink wash painting of a rolling vista of hills and the mists. I believe she often works on her creations in this kind of cloudy, intangible weather, conceiving the poetic atmosphere out of water splashing and moist breeze in the artworks. Such peaceful and quiet location makes me suddenly forget all about the clamor in the cities. It also reminds me of an excerpt from Li Bai’s poem “Gu Feng” – “Once Across the Peach Blossom Spring, All Mortal Matters Are Left Behind.” Chang Tsui-Jung delicately decorates every tree and bush here in the studio, and this place further becomes a natural greenhouse for her to observe flowers and birds in person, creating inspirations for her artworks. One minute the sun shines, the next it is raining heavily again. You can witness the change of seasons outside the window of the studio every day. Chang Tsui-Jung presented the diversity of subject matters and possibilities at her first solo exhibition “Mirror of the Heart” in 2011. In 2012, she focused on allegorically thematic artwork collections at her solo exhibition “Breeze Under the Moonlight”. The solo exhibition today adopts the style of her last one in 2012. Most paintings are based on the flowers, birds, and landscapes. Also, the elements of Taiwan’s natural ecology are ingeniously applied in her artworks. Chang Tsui-Jung combines the subjects commonly seen in Eastern ink wash paintings and the delicate techniques of depiction from Western oil paintings together. Based on the Chinese foundation, she further applies Western concept. In mixed media creations, she uses spattering-dye technique with acrylics on the background, and applies Automatism

May the Colored Birds Soar Gracefully and Freely in All Seasons: A Leisure Visit to the Secret Paradise in Chang Tsui-Jung’s Artworks E S S AY

subtly to express the beauty of the abstract art’s rhythms. Furthermore, the flowers, birds, and landscapes painted by oils in the foreground focus present the effects of Hyperrealism or Photorealism. This is similar to how the techniques of photography, such as focal length and depth of field, affect images’ sharpness and creates soft-focus effects. Chang Tsui-Jung mentioned that she used to come into contact with modern master Antonio Lopez, and that she admires the Hyperrealism techniques of master Eduardo Naranjo. Since Chang Tsui-Jung named her thematic artwork collections after Chinese poetry, the audience could try to perceive the artistic conception of the paintings, and project the poems’ images onto the artworks by applying literary sensitivity. Autumn Silver Grass on Yangminshan

2014 Mixed media on linen 145.5×220.2cm ( 160 號 )

At this exhibition, a monumental landscape diptych “Autumn Silver Grass on Yangminshan” presents the beauty of lush greenness and the colorful blossom drops. During autumn, waterbirds such as purple herons are resting upon the reed and silver grass. In “Dreamy Colors Near the Ridge,” rainbow-like parrots gracefully linger in the floral beauty of spring. The two paintings of the diptych respectively depict the majesty of Yangminshan and Sun Moon Lake. As of the latter artwork, the audience can overlook Taipei Basin and Tamsui River winding into the ocean from the parrots’ point of view on the persimmon trees. In the series of the four seasons, flowers and birds are essential elements. Doves hover over the torrents of water splashing against stones. Wavy purple vines gently sway in the air of spring. In summer, spotted doves, grey-capped greenfinches, and red dragonflies fly around the ripe golden harvest. In autumn, cicadas wail in the golden bamboo forests. In winter, the trees in Fushoushan, Yilan are laded with red and green apples even in the freezing weather. Then, in early spring, fresh green leaves glow with the companion of peach flowers in full bloom, making the audience think that Sun Moon Lake’s breathtaking landscapes are not unreachable anymore. In the dreamy sunrays of the sunset, paradise flycatchers and thrushes rest in the bamboo groves with the refreshing breeze blowing. In the golden bamboo groves, kingfishers’ birdsong echoes with the splashing sound of the water. The image of the cockscombs and the rooster represents “cocks with a cock.” This indicates the positive metaphor in Chinese, which has the same meaning of “icing on the cake.” Formosan macaques, endemic to Taiwan, live in the misty hills with sikang pines and bamboo forests. As the sun shines upon the mountains, the breeze grows worm, the flowers blossom, and the snow begins to melt. Single-seed junipers appear as the frosty clouds flow among the mountains. On a beautiful sunny day, Japanese white-eyes mysteriously rest in the dazzling camellia bushes, and slightly quiver in the wind.

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2015 Solo Exhibition Symphony of Four Seasons

In the four-piece painting set of the vase arrangements, the audience can appreciate the image of the refreshing fragrance filling the room by wind. The appearance of plum blossoms indicates the arrival of the early spring, and the burgundy-red cardinals are on the top of the branches already. The camellias, cherry blossoms, and purple vines are amazingly colorful, swinging, and fragrant. Yet their beauty is just as brief as the flowering season. Camellias, even as breathtaking as they are while blooming, they fall off so determinedly and proudly. Even during their full blooming period, with the fairest gesture they could have, they still die away like a sentimental woman who would like to desert her past and never look back. Cherry blossoms remind people of girls that love to dream and fall in love. Such image appropriately fits the refreshing figure of exuberant cherry blossoms. Purple vines, fine and tender, are like the ones that wait up for you at the door caringly. They also indicate the lovely sign of early spring. Garden peonies and tree peonies are as calm and steady as a graceful and regal lady. Even with merely light makeup, they show their beauty in their own ways. In “Leisure Implies Incoming Autumn,” the cats are lazily asleep under the sunshine, and so that the colorful parrots can go near the table beside the window at peace. The autumn persimmons and chrysanthemums in blue china vase make pine needles and giant taros stand out. This image implies that it is about to enter the season when the earth goes into hibernation. In “Blossom Starts Once Cold Arrives,” the kitten sprawls at ease across the art magazines, while a vase of narcissi, the symbol of narcissism, is placed in the back. It seems that the pet is silently complaining that its master is too busy to pay attention to its waiting for petting. In “The Noble Peony Blooms Tenderly,” the peonies that represent riches gorgeously stand in the royal yellow vase, which is placed on an indigo palace fauteuil. A cat already grabs a magnolia blossom, and the other cat is about to jump and destroy the flowers… In the horizontal scrolls of paintings, little egrets hover over the lush green bamboo groves and gaze at Guishan Island in the blue ocean. Perhaps this implies that artist who lives in Taipei Basin is thinking of her hometown in Yilan. While the sound of waterfall echoes, the mandarin ducks swim in pairs with their babies, and amaryllis bloom luxuriantly along with morning glories. Climbing bamboos and cotton-tree flowers intertwine, while Japanese white-eyes and light-vented bulbuls enjoy their company in the humidity of insular climate. Pigeons and spotted doves rest in the Taiwan cherry trees, surrounded by mountains’ dampness after raining. The peacock family can actually be regarded as the artist’s family portrait. She dedicated herself to her husband’s career of painting restoration for fifteen years, playing the role of an important assistant. After her dedication led their career to success and great reputation, Chang TsuiJung finally left the backstage and developed her own career and of original art creations. The nightingale that had been gently singing in the shadows for years would expect to become an

Blossom Starts Once Cold Arrives

2014 Mixed media on linen 91×60.7cm ( 28 號 )

May the Colored Birds Soar Gracefully and Freely in All Seasons: A Leisure Visit to the Secret Paradise in Chang Tsui-Jung’s Artworks E S S AY

outstanding, colorful peacock that glows in the daylight after all. What’s interesting is that she leaves QR codes on the peacocks. Despite people’s passion for nature, the signatures of smartphones still haunt us in the modern technological world. The pink of peach blossoms embellishes the green of bamboos, while sparrows sing loudly in the air of spring. Cockscombs standing upright and the crabs together form a special but harmonious image. In winter, when the sun comes out, Yushan’s majestic landscapes can be seen far away from the makino bamboo forests of Alishan. When the weather gets worm, it would be easy to recognize Jiemei Greenness Facing the Vast Ocean

2013 Mixed media on linen 97.3×194.5cm ( 95 號 )

Lakes (or Sister Lakes), Fuqi Trees (or Husband and Wife Trees), and single-seed junipers within them. Cedar woods’ abstract image of Hehuanshan and Yushan is having beautiful weather all the year round. Among the pinkish waves of the peony’s blossom floats the Green Island. The island is like a pure, uncultivated area, being remote from the mortal world. The blue ocean does not seem blue anymore, since people are sentimentally attached to the beauty of flowers all the time. Nowadays, modern cities have gradually replaced the fields and woods. In artists’ mind, pure and simple landscapes of nature have become the Lost Paradise that has been forgotten by people. Even in the distant countryside, concrete jungle is nibbling away at the land’s memories that were once beautiful. Flowers have blossomed and withered. Spring has come and gone. Perhaps the unforgettable dawns and dreamy sunsets are just like the spring season every year. Once the moment is gone, it is hardly possible to experience another moment that is exactly the same as before. However, Mother Nature still keeps surprising people in ways we cannot imagine. Each flower and grass can show people the mystery of the universe. Happiness and joy are not as unreachable as people imagine. In “Rose Studio”, Chang Tsui-Jung is able to keep tranquil and preserve the wonderland in her mind. Every time the flowers bloom, they only keep the spring beauty instead of all the years that have passed. However, could people enjoy the process of aging within the blossom drops, and remain the beauty still? Plant the peach trees and look forward to the arrival of spring; arrange the flowers and enjoy birdwatching. People can greet each other in nature, and wander freely in landscapes. Even so, would the soaring birds in the misty rain look back and weep over the past? Could they recall a slight taste of youth in the heavy fog? Immerse yourselves in the nature, and explore the world in the beauty of blossoms and the aroma of the grass. Chang Tsui-Jung invites us to enter her secret universe, in order to recreate the paradise of Peach Blossom Spring for our spirits and ideal life. May the colored birds soar gracefully in the nature, and the stray birds come and go freely in all seasons!

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2015 Solo Exhibition Symphony of Four Seasons

四季交響詩

創作自述文

張翠容

繼清風映月個展後，兩年來創作的日子很快地過去了！這段時間我依著自己的生活節奏，研習花卉、蒔花種稻、觀察萬物靈動姿態；以大自然為師，揮灑山水靈動、風、晴、雨、雪的千變萬化，翩然於花、鳥、草、蟲間粹鍊成精妙的主題；試圖將台灣豐富自然景色，輝映在畫布與彩筆之間，從題材設色中吟唱出臺灣優美的四季音符、色彩與味道。詩詞簡短精練的字裡行間，宛如枝椏扶疏的葉叢裡，蘊含著生命的意象、鳥禽花卉的旋律、萌發了無限的生命力，36 件作品訴說我的內心世界，更反應自然萬物給予的啟發。

在創作領域裡，我自在悠遊於中西繪畫的領域，無論是西畫中用或水墨西用，水性與油性互相交融，以東西方文化的聚合來闡釋自己的繪畫風格。以「觀鳥、觀心、觀自然」作為創作的靈感與元素，透過真摯的雙眼記錄生活感動的點滴，化身為畫中的鳥兒與動物，塑造成有情世界，透過細膩的工筆畫法，仔細描繪樹幹、鳥類、果實……溫和仁德的自然景緻。

逐以自動性技法，潑灑抽象律動的背景，巧妙地表現出山水的雄偉，再熏染賦色出自然界的敦厚氣韻；將這份對自然界的詩意融合自身心意表達於四季套繪，引導觀者的心性得以滋養朦朧抽象的情感，逐一轉化成心神領略的美感。

此次個展以繪畫訴說季節時分更迭的多樣面貌，將我的熱情與創作力轉而歌頌大地美好的詩境，營造人類與大自然和諧共處生態景象，打造成一幅幅動人具像的詮釋，亦是身為畫家存在的深層意義。

台灣四季變幻如詩，充滿生的景象、美的元素，交響的鳥語、潺潺的水聲、柔情的微風驟雨，在身旁演奏著優美的抒情樂章，為人生增添無限的驚喜，只有懂得愛惜這片土地，觀賞聆聽的人才能體會它的美妙，而你，聽見了嗎？

Symphony of Four Seasons Artist Statement

Symphony of Four Seasons

Artist Statement Written by

CHANG Tsui-Jung

Two years have passed since I held the exhibition “Breeze Under the Moonlight”. During this time, I have followed the tempo of my life, spending some quality time with the flowers and the plants to learn their secrets. The natural phenomena such as wind, sunshine, rain, or snow accompany the interaction among flowers, birds, grass, and bugs, transforming into a wonderful theme in my works. Meanwhile, I attempt to visualize the rich natural resource in Taiwan on the canvas, creating the most beautiful sounds, colors, and tastes, which are unique to each season of the island. In the simple and yet precise poems, I look for the symbols of life, the melody of all creatures, and the boundless vitality as if it were a treasure-hunting game in the bush. It is a world full of possibilities. The 36 works not only reveal the inner world of my heart but also respond to the inspiration from the nature. In my artistic practice, I freely use the Eastern and the Western painting materials. No matter I am adopting a Western technique in an Eastern expression, or transforming ink-wash painting into a Western style, I am fascinated by how water and oil are mixed with each other. In the integration of the Western and the Eastern cultures, I establish my own artistic vocabulary. Based on the inspiration from my “observation on birds, the heart, and the nature,” I document every precious moment of my life with my own eyes. Birds and animals are the main themes of my paintings, and the world they dwell in is full of love and emotions. The delicately painted strokes in a Chinese naturalistic style capture every detail of the trunks, the birds, and the fruits. The natural scenery shows its gentleness and virtues. The background is painted with automatic painting technique, cleverly revealing the abstract rhythm of the landscape. The sincere honesty of the nature becomes the colors of the work, ingeniously illustrating the majestic landscape. Poetic affection to the nature is expressed and absorbed in paintings of four seasons, through which I encourage viewers to transform the mysterious, obscure, abstract, and unidentified emotions into a concrete sense of beauty. In my exhibition, I hope to describe the various kinds of transformations between seasons through my paintings, turning my creativity and passion into a grand poem praising the beauty of the land. As a painter, the deepest meaning of the profession is to create the harmonious scene between humans and the nature through evocative images. The four seasons in Taiwan are as mystical as poems. They are like the images of life, the elements of beauty, the symphony of bird chirping, the whisper of flowing water, and the tenderness of breeze and storm. They are playing a sweet melody around us, decorating people’s lives with amazing surprises. Only those who cherish the land and appreciate the sound will know how beautiful it is. Do you hear the music they are playing?

作

品

ART WORKS

紫語染春風 Purple Decorating the Spring Breeze 2014 Mixed media on linen 130.3×97.3cm （60F ）

對對金穗載深意 Lovely Golden Spikes in Pairs 2013 Mixed media on linen 130.3×97.3cm （60F ）

篁竹歌聲動 Music Lingering in Bamboo Groves 2012 Mixed media on linen 130.3×97.3cm （60F ）

蘋綠果紅冷不侵 Apples Standing Steadily in Winter 2014 Mixed media on linen 130.3×97.3cm （60F ）

春和景明 Peach Blossom in Spring Harmony 2013 Mixed media on linen 130.3x97.3cm（60F ）

驚聽奏鈞天 Sudden Ringing of Ethereal Melodies 2013 Mixed media on linen 97.2×130.3cm （60F ）

松竹引清風 Breeze Sweeping Pines and Bamboos 2013 Mixed media on linen 112×146cm （80F ）

香飄雞數風 Rooster Immersing in the Aroma 2013 Mixed media on linen 80.5×100.5cm （40F ）

洒面若微霜 Frostwork Sprinkling Gently 2013 Mixed media on linen 80.5×100.5cm （40F ）

陽坡風暖雪初融 Snow Melting Under Warmth 2014 Mixed media on linen 80.6×100.3cm （40F ）

喜見新篁發幾枝 Bamboos Sprouting Vigorously 2014 Mixed media on linen 80.5×100.3cm （40F ）

風裁日染開先囿 Sunny Spells in Camellia Season 2014 Mixed media on linen 100.3×80.5cm （40F ）

山含秋色近 Autumn Near the Valley's Corner 2014 Mixed media on linen 194.5×97.3cm×2 （189 號）

草山韭芒複秋色 Autumn Silver Grass on Yangminshan 2014 Mixed media on linen 145.5×220.2cm （160 號）

彩飛夢幻水沙連 Dreamy Colors Near the Ridge 2014 Mixed media on linen 145.5×220.2cm （160 號）

滄海對青蒼翠色 Greenness Facing the Vast Ocean 2013 Mixed media on linen 97.5×194.3cm （95 號）

近水花先發 Flowers Near the Water Bloom Earlier 2013 Mixed media on linen 97.3×194.5cm （95 號）

竹聲花影 Bamboos Waver, Flowers Blossom 2013 Mixed media on linen 83.8×211.5cm （89 號）

空山新雨后 Dreamlike Valley After the Rain 2014 Mixed media on linen 89.5×145.3cm （65 號）

奮迅洪姿 Peacocks About to Soar 2014 Mixed media on linen 89.7×146cm （65 號）

竹外桃花兩三枝 Peach Blossom Near Bamboo Groves 2013 Mixed media on linen 91.2×117cm （50F ）

曉景擺蕊展雄姿 Spring Flowers in Full Bloom 2013 Mixed media on linen 80.5×116.5cm （50P ）

沾露滌塵增豔麗 Beauty in dews 2014 Mixed media on linen 66.3×76.7cm （25 號）

雍容華貴淡胭脂 The Regal, Elegant Peony 2013 Mixed media on linen on plywood 72.8×60.8cm (20F)

清香隨風發 Refreshing Fragrance in the Wind 2013 Mixed media on linen on plywood 57×68cm （19 號）

先報早春來 Early Spring Has Come 2013 Mixed media on wood panel 72.7×60.6cm （22 號）

春風發好香 Spring Breeze Delivers Fragrance 2013 Mixed media on wood panel 76×56cm （21 號）

小寒三候始雍容 Blossom Starts Once Cold Arrives 2014 Mixed media on linen 91×60.7cm （28 號）

金蕊霞英叠彩香 The Noble Peony Blooms Tenderly 2013 Mixed media on linen 91.3×116.7cm （50F ）

閒窗秋色近 Leisure Implies Incoming Autumn 2013 Mixed media on linen 120×100.2cm （60 號）

水何澹澹 Floral Waves Rippling 2014 Mixed media on linen 91.3×116.7cm （50F ）

瓊姿奇葩鶴同春 Crane Celebrating Spring With Flowers 2014 Mixed media on plywood, wooden frame 101.2×81.5cm （41 號）

龍飛彩鳳乾坤行 Dragons and Phoenixes Around the Earth 2014 Mixed media on plywood, wooden frame 96×82.5cm （40 號）

秀色四時均 Beauty Lasts All the Seasons 2014 Mixed media on linen 65.2×91cm （30P ）

暖雨晴風初破凍 Warmth Has Driven Winter Away 2014 Mixed media on linen 56×76cm （21 號）

竹塘冬望 Bamboo Pond Facing Winter Mountains 2014 Mixed media on linen 45.5×53cm （10F ）

C H A N G Ts u i - J un g

2015 Solo Exhibition Symphony of Four Seasons

張翠容

學

1963 年出生於台灣南投

歷

1993

西班牙馬德里大學藝術學院繪畫創作碩士，馬德里，西班牙

1987

國立台灣藝術專科學校（現為國立台灣藝術大學）美術科國畫組，新北市，台灣

經

歷

1993-94

任教於花蓮師範學院美勞系，花蓮，台灣

1992-93

擔任西班牙馬德里大學藝術學院材料學教授烏埃爾達（Manuel Huertas Torrejón）之助理，馬德里，西班牙

個

展

2015

「四季交響詩」，尊彩藝術中心，台北，台灣

2012

「清風映月」，尊彩藝術中心，台北，台灣

2011

「心鏡之航」，尊彩藝術中心，台北，台灣

聯 2013

展

「繁星閃閃－代理藝術家聯展」，尊彩藝術中心，台北，台灣「記憶 ‧ 創造」台灣留學西班牙藝術家聯展，淡江大學文錙藝術中心，台北，台灣

2012

「飛行熱氣球－台灣當代藝術展」，尊彩藝術中心，台北，台灣「2012 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣

2011

「聚賢迎春－十位當代藝術家聯展」，尊彩藝術中心，台北，台灣

1993

「東方藝術家聯展」，比亞努埃瓦市，馬德里，西班牙

1992

「馬德里大學藝術學院師生攝影聯展」，馬德里，西班牙「第五屆 El Corte Inglés 沙龍美展」，馬德里，西班牙

1991

「馬德里大學藝術學院師生美展」，馬德里，西班牙「時鐘之屋聯展」，馬德里，西班牙

1989

「國立藝專師生聯展」，巴黎高等美術學院，巴黎，法國

1988

「寅薪畫會聯展」，新生畫廊，台北，台灣

1987

「郭江宋、張翠容水墨聯展」，花蓮縣立文化中心，花蓮，台灣

Curriculum Vitae

獲

獎

1991

馬德里第三屆國際寫生比賽，入選，台灣

1989

全國美展水墨畫，優選，台灣台灣省第四十三屆美展水墨畫，優選，台灣

1988

台北市第十五屆美展水墨畫，第一名，台灣

1987

台灣省第四十二屆美展水墨畫，第一名（省政府獎），台灣台北市第十四屆美展水墨畫，第二名，台灣

1986

台灣省第四十一屆美展水墨畫，優選，台灣台灣省第四十一屆美展水彩，入選，台灣全國美展水墨畫，入選，台灣全國青年國畫創作美展，佳作，台灣

典 1988

藏

《相呼雪一群》，水墨，台北市立美術館，台北，台灣《聽秋》，水墨，國立台灣美術館，台中，台灣

1987

《竹塘鵝語》，水墨，台北市立美術館，台北，台灣《竹塘鵝戲》，水墨，國立台灣藝術大學藝術博物館，新北市，台灣

C H A N G Ts u i - J un g

2015 Solo Exhibition Symphony of Four Seasons

CHANG Tsui-Jung

1963 born in Nantou, Taiwan

EDUCATION 1993

MFA, College of Ar ts, Complutense University of Madrid, Madrid, Spain

1987

BFA, Chinese Painting, Depar tment of Fine Ar ts, National Taiwan College of Ar ts (now National Taiwan University of Ar ts), New Taipei City, Taiwan

EXPERIENCE 1993-94

Received a teaching position in the Depar tment of Fine Ar ts, National Dong Hwa University, Hualien, Taiwan

1992-93

Served as an assistant for Manuel Huer tas Torrejón, a professor in Materials Science at the Complutense University of Madrid, Madrid, Spain

SOLO EXHIBITION 2015

“Symphony of Four Seasons”, Liang Gallery, Taipei, Taiwan

2012

“Breeze Under the Moonlight”, Liang Gallery, Taipei, Taiwan

2011

“Mirror of the Hear t”, Liang Gallery, Taipei, Taiwan

GROUP EXHIBITION 2013

“Beautiful Starry Night Sky”, Liang Gallery, Taipei, Taiwan “Memory and Creation – Group Exhibition by Taiwanese Ar tists That Studied in Spain”, Carrie Chang Fine Ar ts Center of Tamkang University, Taipei, Taiwan

2012

“Exploring With a Balloon – Taiwan Contemporar y Ar t Exhibition”, Liang Gallery, Taipei, Taiwan “Ar t Taipei 2012”, Taipei World Trade Center, Taipei, Taiwan

2011

“Celebrating Spring Together – Group Exhibition of Ten Contemporar y Ar tists”, Liang Gallery, Taipei, Taiwan

1993

”Group Exhibition With Oriental Ar tists”, Villanueva, Madrid, Spain

1992

”Art College Photo Exhibition”, Complutense University of Madrid, Madrid, Spain ”The 5th El Cor te Inglés Ar t Salon”, Madrid, Spain

1991

”Ar t College Exhibition”, Complutense University of Madrid, Madrid, Spain ”Clock House Exhibition”, Madrid, Spain

Curriculum Vitae

1989

”A Joint Exhibition With Students and Teachers of National Academy of Ar ts”, Ecole Nationale Superieure Des Beaux-Ar ts, Paris, France

1988

”A Joint Exhibition With Yin Hsin Ar t Group”, Hsin Sheng Gallery, Taipei, Taiwan

1987

”A Joint Exhibition With Kuo Chiang-Sung”, Hualien County Cultural Center, Hualien, Taiwan

AWARDS 1991

Selected Award, The 3rd International Sketching Competition, Spain

1989

Merit Award in Chinese Painting, National Art Exhibition of the Republic of China, Taiwan Merit Award in Chinese Painting, The 43rd Taiwan Provincial Fine Ar ts Exhibition, Taiwan

1988

First Prize in Chinese Painting, The 15th Taipei Ar t Exhibition, Taiwan

1987

First Prize in Chinese Painting, The 42nd Taiwan Provincial Fine Arts Exhibition, Taiwan Second Prize in Chinese Painting, The 14th Taipei Ar t Exhibition, Taiwan

1986

Merit Award in Chinese Painting, The 41st Taiwan Provincial Fine Ar ts Exhibition, Taiwan Selected Award in Water Color Painting, The 41st Taiwan Provincial Fine Ar ts Exhibition, Taiwan Selected Award in Chinese Painting, National Ar t Exhibition of the Republic of China, Taiwan Excellent Work, National Youth Calligraphy and Painting Exhibition, Taiwan

COLLECTIONS 1988

“Snow”, Taipei Fine Ar ts Museum, Taipei, Taiwan “Listening Autumn”, National Taiwan Museum of Fine Ar ts, Taichung, Taiwan

1987

“Talking Geese”, Taipei Fine Ar ts Museum, Taipei, Taiwan “Playing Geese”, Ar t Museum of National Taiwan University of Ar ts, New Taipei City, Taiwan

C H A N G Ts u i - J un g

2015 Solo Exhibition Symphony of Four Seasons

圖錄 Catalog

春和景明 Peach Blossom in Spring Harmony 2013 Mixed media on linen 130.3×97.3cm（60F）

p. 31

紫語染春風 Purple Decorating the Spring Breeze 2014 Mixed media on linen 130.3×97.3cm（60F）

p. 23

對對金穗載深意 Lovely Golden Spikes in Pairs 2013 Mixed media on linen 130.3×97.3cm（60F）

松竹引清風 Breeze Sweeping Pines and Bamboos 2013 Mixed media on linen 112×146 cm（80F）

p. 33 驚聽奏鈞天 Sudden Ringing of Ethereal Melodies 2013 Mixed media on linen 97.2×130.3cm（60F）

p. 35

p. 25

篁竹歌聲動 Music Lingering in Bamboo Groves 2012 Mixed media on linen 130.3×97.3cm（60F）

p. 27

香飄雞數風 Rooster Immersing in the Aroma 2013 Mixed media on linen 80.5×100.5cm（40F）

p. 37

蘋綠果紅冷不侵 Apples Standing Steadily in Winter

洒面若微霜 Frostwork Sprinkling Gently

2014

2013

Mixed media on linen

130.3×97.3cm（60F）

80.5×100.5cm（40F）

p. 29

p. 39

C ATA L O G

陽坡風暖雪初融 Snow Melting Under Wormth

彩飛夢幻水沙連 Dreamy Colors Near the Ridge

2014

Mixed media on linen

80.6×100.3cm（40F）

145.5×220.2cm（160 號）

p. 41

p. 51

喜見新篁發幾枝 Bamboos Sprouting Vigorously

滄海對青蒼翠色 Greenness Facing the Vast Ocean

2014

2013

Oil on canvas

Mixed media on linen

80.5×100.3cm（40F）

97.5×194.3cm（95 號）

p. 43

p. 53

風裁日染開先囿 Sunny Spells in Camellia Season

近水花先發 Flowers Near the Water Bloom Earlier

2014

Mixed media on linen 100.3×80.7cm（40F）

p. 45

Mixed media on linen 97.3×194.5cm（95 號）

p. 55

山含秋色近 Autumn Near the Valley's Corner

竹聲花影 Bamboos Waver, Flowers Blossom

2014

2013

Mixed media on linen

194.5×97.3cm×2（189 號）

83.8×211.5cm（89 號）

p. 47

p. 57

草山韭芒複秋色 Autumn Silver Grass on Yangminshan

空山新雨后 Dreamlike Valley After the Rain

2014

Mixed media on linen 145.5×220.2cm（160 號）

p. 49

Mixed media on linen 89.5×145.3cm（65 號）

p. 59

C H A N G Ts u i - J un g

2015 Solo Exhibition Symphony of Four Seasons

奮迅洪姿 Peacocks About to Soar

清香隨風發 Refreshing Fragrance in the Wind

2014

2013

Mixed media on linen 89.7×146cm（65 號）

p. 61

100

Mixed media on linen on plywood 57×68cm（19 號）

p. 71

竹外桃花兩三枝 Peach Blossom Near Bamboo Groves

先報早春來 Early Spring Has Come

2013

Mixed media on linen

Mixed media on wood panel

91.2×117cm（50F）

72.7×60.6cm（22 號）

p. 63

p. 73

曉景擺蕊展雄姿 Spring Flowers in Full Bloom

春風發好香 Spring Breeze Delivers Fragrance

2013

Mixed media on linen

Mixed media on wood panel

80.5×116.5cm（50P）

76×56cm（21 號）

p. 65

p. 75

沾露滌塵增豔麗 Beauty in dews

小寒三候始雍容 Blossom Starts Once Cold Arrives

2014

Mixed media on linen

66.3×76.7cm（25 號）

91×60.7cm（28 號）

p. 67

p. 77

雍容華貴淡胭脂 The Regal, Elegant Peony

金蕊霞英叠彩香 The Noble Peony Blooms Tenderly

2013

Mixed media on linen on plywood

Mixed media on linen

72.8×60.8cm（20F）

91.3×116.7cm（50F）

p. 69

p. 79

C ATA L O G

閒窗秋色近 Leisure Implies Incoming Autumn

暖雨晴風初破凍 Warmth Has Driven Winter Away

2013

2014

Mixed media on linen

120×100.2cm（60 號）

56×76cm（21 號）

p. 81

p. 90

水何澹澹 Floral Waves Rippling

竹塘冬望 Bamboo Pond Facing Winter Mountains

2014

Mixed media on linen

Mixed media on Sketchpad

91.3×116.7cm（50F）

45.5×53cm（10F）

p. 83

p. 91

瓊姿奇葩鶴同春 Crane Celebrating Spring With Flowers 2014 Mixed media on plywood, wooden frame 101.2×81.5cm（41 號）

p. 85

龍飛彩鳳乾坤行 Dragons and Phoenixes Around the Earth 2014 Mixed media on plywood, wooden frame 96×82.5cm（40 號）

p. 87

秀色四時均 Beauty Lasts All the Seasons 2014 Mixed media on linen 65.2×91cm（30P）

p. 89

101

發行人

余彥良

總經理

陳菁螢

出版者

尊彩國際藝術有限公司

策劃設計

尊彩藝術中心

印刷

日動藝術印刷有限公司

出版

2015年1月初版

ISBN

978-986-90108-7-0

Executive Director

Yu Yen-Liang

Director

Claudia Chen

Publisher

Liang Gallery Co., Ltd

Editor

Liang Gallery

Printing

Jih-Tung Art Pringting Co., Ltd.

Publishing Date

First Edition, January, 2015

ISBN

978-986-90108-7-0

T +886-2-2797-1100 F +886-2-2656-0033 lianggallery@gmail.com

台北市11492內湖區瑞光路366號 No.366, Ruiguang Rd., Neihu District, Taipei 11492, Taiwan 開放時間 Gallery Hours 11:00am~6:00pm 週一公休 Closed on Monday