Breeze under the Moonlight
張 翠 容 Tsui-Jung Chang
ESSAY Breeze Dancing in the Moonlight
白頭已上枝 2012 壓克力、油彩、麻布 83.8×211.5cm
清風映月舞天地
欣見張翠容女士在國內第二次舉行個人畫展，從2011年1月「心鏡之航」首度個展迄今，不
張翠容畫作的現代性
到兩年的時間，感受到她對繪畫的執著與不安的悸動：執著在於多年來執畫筆的心未被歲月 的流逝而磨蝕；不安的悸動在於那份想用畫傳心的意念一直旋繞、與時間競逐。
撰文／張淑英 臺灣大學外文系教授兼文學院副院長
翠容於1990-1993在馬德里大學攻讀繪畫碩士時期，恰為我攻讀文學博士學位的中段時間， 22年來，回溯她從國內國畫的薰陶養成，繼而轉攻西畫（油畫）的訓練和琢磨，其中有一段 艱辛但充實的淬鍊。西班牙繪畫的成就與藝術氛圍讓人生活其境，自然濡染其中。文學和繪 畫的研究閱讀中，文字和視覺藝術的關係原本密切相連，也因此，在翠容這次文學況味頗濃 的畫展中，我從繪畫和文學的角度切入，看待翠容從國畫/化到西畫/化，又從西畫/化融合國 畫/化的追尋與成長，探討這段文/藝的薰陶過程，試圖凝視觀看她的作品中的現代性。
西元前六世紀希臘詩人賽莫尼德斯（Simónides de Ceos）提出「畫是無言詩，詩是有言畫」， 將文學和藝術的關係銜接起來。希臘文的“Ekphrasis / Ecfrasis”（讀畫詩），是「外面」和 「言說」兩個字的結合，一言以蔽之，便是用文字再現視覺藝術。義大利哲學家兼作家艾可 （Umberto
Eco）在《大鼠還是小鼠？翻譯即協商》書中說「當文字文本描寫一部視覺藝術
作品時，傳統經典的詮釋就是“écfrasis”」。這是西方藝術詮釋「詩與畫」的文字文本和視覺 藝術的連結。中國的詩/畫傳統也是不遑多讓，較著名的從東晉謝靈運（385-433）的山水詩 （以山水為背景）到蘇軾（1037-1101）的題畫詩《書摩詰藍田煙雨圖》中稱王維（701-761）
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Breeze under the Moonlight
曾為梅花醉似泥 2011 壓克力、油彩、麻布 40F
的「詩中有畫，畫中有詩」（以山水為意境），期間已歷經五、六百年時光，更遑論明朝以 降水墨畫中詩畫相互烘托的傳統與盛世了。這當中，蘇軾的〈惠崇春江晚景〉和杜甫的 〈奉 先劉少府新畫山水障歌〉常被視為讀畫詩的經典。因此，不難看出翠容試圖結合中國題畫詩 的經典，佐以西畫的技巧與現代感的冀望。
讀畫詩的意圖或情境在於面對在場或不在場的實物或想像物，諸如圖畫、物件、符號系統， 以文字/詩詞為媒介，詠嘆、書懷、釋情，替視覺接收之物說話，或敘述勾勒其空間，或替繽 紛色彩的畫面增添文學意涵。此次翠容個展的54幅畫，其靈感無疑來自中國詩詞，每一幅畫 均是唯美的詩詞為題，乍看彷彿是逆向操作讀畫詩的路徑，從詩意中布局畫境，從修辭中捕 捉景物，讓它們浮現成形，是從虛到實、從寫意到繪景的脈絡。我們如果以拉丁詩人賀拉西 （Horace）的說詞:「詩就是畫」（“ut pictura poesis”），那麼以文字為基底的這系列畫作也 可以反看做是從實到虛，從詩的「漸進性」到畫的「同時性」，從文字的「可聽」到視覺的 「可看」。因此，欣賞翠容這系列的山水、花草或百鳥珍禽等大地生靈萬物，我們要跳脫 「詩/畫」靈感來源先後的議題，或是先人好辯的好詩好畫能否同步共軌的論述，而直接訴諸 藝術家和畫作的互動與溝通，透過詩畫的情境讓觀者產生什麼樣的共鳴和觸動。更何況，這 些畫作融入了畫家（翠容）的留學逆旅（以異鄉為客棧），生活歷練，旅行見聞，修畫、繪 畫的操作訓練。且從諸多表層的粉白覆蓋油彩的畫面上，彷彿給觀者傳遞了知天命的豁達。 又如，「清風映月」，它不是任何一幅畫的題名，卻又可涵蓋任何一幅畫。清風是景的寫實，
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ESSAY Breeze Dancing in the Moonlight
紅蠟枝頭雙燕小 2012 壓克力、油彩、麻布 40F
清風映月是虛幻，月是寫意，而清風中有輕風，月影舞輕風，那當下，畫布一番風情入眼 簾，別有一番滋味在心頭，賞畫除了「悟實」，也變成一種心靈釋放和解脫。如同翠容的自 述「筆放心情」—這也是她致力繪出這麼多地景畫作的職志和心願。
這54幅畫作中，簡單可以分為兩組：例如山水風景有《雲氣隨飛龍》、《嵯峨俯瞰漓江 水》、《秋山明淨》、《水路風光氣象龐》、《多少樓臺煙雨中》、《浮煙翠且重》、《渾 同萬馬直奔騰》…等等，蒼嶺山水，靉靆白雲，詩/畫的動/靜彼此交替。另一組花草鳥禽則 有《窗含西嶺千秋雪》，《花潭竹嶼傍幽蹊》，《紅蠟枝頭雙燕小》，《白頭已上枝》， 《高節禪枝宿眾鳥》，《江深竹靜兩三家》，《前溪後嶺萬蒼松》…等等，尤其《曾為梅花 醉似泥》，《白頭已上枝》，整幅看來，具象景物飄渺迷幻，悠然輕盈，但局部切割細分， 則可以看出當中一筆一畫色彩濃度厚實，各種繪畫材混合使用，細部畫工豐盈。這些畫中有 許多不同色彩的鳥禽家族，小則富貴，大則大度，豐富了畫作的題材和變化。山水花鳥在中 國繪畫裡恆常象徵高風亮節、品格情操，翠容在這些象徵雅緻的符號系統中，透過現代繪畫 的素材和技法，試圖傳遞恬靜和閑適的氛圍，活潑中見優雅。
從現代西畫的角度看，翠容這系列的畫作類似十九世紀西語文學運動裡「現代主義」的些許 風潮，當時文人（畫）師法法國的象徵主義和高蹈派詩學，吟詩如作畫譜曲，需有音樂性， 西班牙的馬奴葉‧馬恰多（Manuel Machado）就是典型的例子。現代主義詩畫中，受到日本
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Breeze under the Moonlight
文化西漸的影響，歐洲還掀起一股東方熱，模糊了中國和日本的文化疆界，眷戀異國情調的
上圖由左至右
想像，結果當時的詩畫吟詠就以花鳥山水為勝，再次造就了讀畫詩的繁榮期。翠容這54幅
窗含西嶺千秋雪
有一種讓視覺「定睛凝固」的氣象。這次的畫展，讓觀者隨意隨興便走入畫的世界，不像翠
2012 壓克力、油彩、麻布 100M
容第一次個展時還有不少超現實的畫作，超現實主義，不論意境或題材，不論是詩文類或繪
雲氣隨飛龍
畫，從水墨擅長的黑白色轉換成油畫的油彩，同樣的山水花鳥，因為油畫的肌理和繪畫層，
主義詩畫中，二七年代（1927）知名的詩人羅卡（Federico García Lorca）和阿爾貝帝（Rafael
2011 壓克力、油彩、麻布 12P
Alberti），他們寫詩也作畫，創作時是詩畫分離，但是放在一起時，卻有詩畫連體的意象。
水路風光氣象龐
他們兩人都愛繪鳥，那是一種渴望自由，卻不安憂鬱的鳥。翠容這次個展兩組題材，山水猶
2011 壓克力、油彩、麻布 40F
畫，對作家/畫家和讀者/觀者都是一種驚喜和憂慮夾雜的思緒，就像二十世紀西班牙超現實
有狂野奔放的模稜之處，鳥禽則是相當細膩具體，應是這批畫作的主軸，這些鳥，是喜悅天 真，又似有鴻鵠之志。深信適值創作榮景時期的翠容，站在中西繪畫巨人的肩膀上，必能日 新又新。
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ESSAY Breeze Dancing in the Moonlight
Chinese Bulbul Perched on a Branch 2012 Acrylic and Oil on Linen 83.8×211.5cm
Breeze Dancing in the Moonlight The Modernity of Tsui-Jung Chang’s Solo Exhibition
It is a pleasure to see Tsui-Jung Chang’s second solo exhibition be held in Taiwan. Since her first solo exhibition Mirror of the Heart in the January of 2011, her persistent but yet disturbed passion for arts has been felt in the past two years: she has been persistent for that she never puts down the brush regardless of the passing of time, while she has been disturbed for that she never gives up the idea to paint her thoughts as if she is trying to stop the time.
Article ／ Luisa Shu-Ying Chang Professor in the Department of Foreign Department of Foreign Languages and Literatures / Associate Dean of the College of Liberal Arts at National Taiwan University
From 1990 to 1993, Tsui-Jung Chang had studied at University of Complutense Madrid to pursue her Master degree in Fine Arts, while I was also in the middle of my Ph.D studies in Literature. For 22 years, she has suffered difficulties and challenges while experiencing the transition from Chinese painting, where she started her artistic practice in Taiwan, to Western painting (oil painting). The development of Spanish painting can never be separate from its way of living, through which artists naturally become part of it. Furthermore, there is a closely connected relationship between the studies of literature and the studies of painting – a visual art practice. Therefore, I attempt to discuss Tsui-Jung Chang’s solo exhibition, which is full of literary aesthetics, from the perspectives of both literature and painting, exploring the transformation from the traditional Chinese painting to the Westernized painting. Through the combination of both, I further discuss how she has developed a new style which embraces both literature and visual art. Eventually, my gaze leads me to the modernity of her works.
The Greek lyric poet Simónides de Ceos, who lived during the 6th-5th centuries BC, has once described painting as “silent poetry” and poetry as “painting that speaks.” As how Simónides de Ceos bridged literature and visual art, the Greek word “Ekphrasis/Ecfrasis,” combines the words
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Breeze under the Moonlight
“out (ek)” and “phrasis (speak),” referring to the written description of a visual work of art. The Italian philosopher, essayist, and novelist Umberto Eco has also described that “when written words describe a visual work of art, the interpretation of the classical tradition can be regarded as ”écfrasis” in the book Mouse or Rat?: Translation as negotiation. It is how Western art explains the connection between poetry and painting – the written words and the visual works of art. One can find similar example in the Chinese tradition of “poetry-painting:” the famous ones include the East Jin Dynasty poet Xie Ling-yun's (385-433) “landscape poetry” (featuring landscape as its background) and Su Shi’s (1037-1101) poem inscribed on the painting Mojie's Picture of Misty Rain at Lantian, which describes Wang Wei’s works as that “there is painting in his poetry, and poetry in his painting” (featuring landscape as its spirit). From Xie Ling-yun to Su Shi, nearly six hundred years have passed.
Lost in the Plum Blossom 2011 Acrylic and Oil on Linen 40F
Eventually, the Chinese tradition of
“poetry-painting” in ink wash painting reached its climax in the Ming Dynasty. Among these works, Su Shi’s An Evening Scene on a Spring River and Du Fu’s The Newly Painted Landscape Screen by District Defender Liu of Feng Xian are often regarded as the classics of “Ekphrasis poetry.” Therefore, one might easily notice how Tsui-Jung Chang intends to combine the classics of Chinese poems inscribed on paintings with the technique and the modernity in Western painting.
The motif or the situation of “ekphrasis poetry” depends on how one deals with the existing or the imagined regardless of its presence of absence. These mentioned above – including images, objects, or symbols – are re-visualized, expressed, depicted, and felt through written words/poetry. The colorful images are thus added some literary touch while the words speak for the visual images or attempt to depict the real spaces. Undoubtedly, we can clearly identify the inspiration from Chinese poetry in the 54 paintings in Tsui-Jung Chang’s solo exhibition. The title of each painting seems to be a beautifully written phrase culled from a poem as if the artist is trying to reverse the poetry-painting relationship in “ekphrasis poetry” – Chang visualizes the scene from the poetic expression and captures the images from the literary description, through which a visual world has emerged. It is a journey from the imagined to the existing, from the impression to the representation. “As is painting so is poetry (ut pictura poesis),” as how the
The Two Small Swallows on the Branch 2012 Acrylic and Oil on Linen 40F
Latin poet Horace states it. Similarly, this series of paintings with written words as the base can also be taken as the transition from the existing to the imagined, from the “progressive” poetry to the “simultaneous” painting, and finally from the “audible” words to the “visible” images. Therefore, when we look at the landscape, the flowers, the birds, and the creatures in Tsui-Jung Chang’s paintings, we have to free ourselves from the discussion of whether it is poetry
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ESSAY Breeze Dancing in the Moonlight
influences painting or the other way around. It is also not our concern to continue the ancient philosophers’ argument of whether it is possible for poetry and painting to follow the same pace and to co-exist with each other.
Instead, we should focus on the interaction and the
communication between the artist and the artworks, exploring how viewers are moved by the scenes in the poetry-paintings. Furthermore, the artist’s life experiences in a foreign country as a stranger (while she studied abroad) are also included in these paintings, in which Chang sincerely shares with us what she has seen, what she has experienced, where she has traveled, and how she continued her artistic practice in the area of painting. Topped with layers of pink white, the oil paints on the canvas seem to deliver a divine message, telling viewers to follow the natural rules without worries. “Breeze under the Moonlight” is not a title of any painting, but it captures the spirit of every painting. The breeze exists in the reality, but the breeze under the moonlight is merely the reflection, soft and clear, while the shadow of the moon dances with it. At this moment, the image in our gaze seems to be alive, inviting viewers to open up all five senses to Clouds of Water Vapor 2011 Acrylic and Oil on Linen 12P
taste it. When we look into a painting, we are not looking at the “representation” but a way to set out hearts free. As mentioned in Tsui-Jung Chang’s artistic statement, what she keeps pursuing is that “the artistic beauty which reveals the poetic essence” – it is why she devotes her life to landscape painting.
These 54 paintings can be categorized into two sections: the landscape paintings such as Clouds of Water Vapor, Water Vapor above the River, Mountains with
Autumn Colors, Beautiful
Landscape of Flowing Water, Water Vapor Bring Rain, Water Vapor above the Mountain, Waterfall Scenery, and several others, feature misty mountains and heavy clouds as emphasized by the juxtaposition between poetry and painting – the co-existence between the moving and the still; the bird-and-flower paintings, including Xiling Snow Mountain Outside the Window, Bamboo Forest on Island, The Two Small Swallows on the Branch, Chinese Bulbul Perched on a Branch, The Branch Sheltering the Birds, Household in Quiet Bamboo Forest, Pine Trees on Hill, and many others, feature the contrast between the misty visualized scenes which seem to be seen from the clouds and the realistic touch in the details which are meticulously painted with various colors and strokes – with Lost in the Plum Blossom and Chinese Bulbul Perched on a Branch as two particular examples.
In these bird-and-flower paintings are various kinds of birds in
different colors. The small ones signify the wealth while the bigger ones seem to be plain and Beautiful Landscape of Flowing Water 2011 Acrylic and Oil on Linen 40F
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honest. They all together enrich the subjects and the artistic expressions of the paintings. In traditional Chinese paintings, landscape paintings and bird-and-flower paintings always represent elegance, honor, and integrity. Adopting these symbols of merits, Tsui-Jung Chang
Breeze under the Moonlight
captures the peaceful and yet pleasant atmosphere through the techniques and the materials in modern painting, creating a world both elegant and lively.
From the perspective of modern Western painting, Tsui-Jung Chang’s series paintings share certain resemblance of the modernist movement in Spanish literature happened in the 19th Century. Following the Symbolist movement and the Parnassianism in France, the Spanish artists and intellects during that period of time emphasized the musicality of poetry. The poems they wrote were treated like music pieces or paintings. The Spanish artist Manuel Machado was one of the examples. Meanwhile, the modernist poetry-painting was under the influence of Japanese culture. With the “oriental fever” sweeping through Europe, the blurry boundary between the Japanese culture and the Chinese culture stirred the imagination of an exotic land. Therefore, while the landscape and the bird-and-flower became the major themes in poetry-painting, “ekphrasis poetry” again reached its climax. In Tsui-Jung Chang’s 54 paintings, the black-and-white which is greatly used in ink-wash painting has been replaced by various oil paints. The different textures and qualities of oil paintings help create a brand new visual effect to the same landscape or the same bird-and-flower – “to fix the gaze.” This exhibition is different from Chang’s previous solo exhibition which was included several surrealistic paintings. Surrealism always provides writers/painters and readers/viewers with an emotion combining surprise and anxiety, no matter it is a literary work or a painting, and regardless of its theme and
Xiling Snow Mountain Outside the Window 2012 Acrylic and Oil on Linen 100M
spirit. Take the famous 20th-Century Spanish poets Federico García Lorca and Rafael Alberti from 1927 for examples; they painted, and they also wrote poems, though they seldom painted and wrote at the same time. Nevertheless, in their surrealistic poetry-painting works, one could never separate painting from poetry or the other way around – it seems that they were created together. They both liked painting birds – the disturbed and anxious birds represented the desire for freedom. The two sections in Tsui-Jung Chang’s solo exhibition include the wild unrestrained landscape and the delicately depicted bird – which might be regarded as the main theme of the paintings. These joyful and innocent birds show their great aspirations, as if they are suggesting that Tsui-Jung Chang, who is reaching her prime as an artist with the inheritance of both Chinese painting and Western painting, will indeed lead us toward a new horizon.
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ESSAY One Fine Day
江深竹靜兩三家 2012 壓克力、油彩、 麻布 120M×3
今朝風日好
這個題目借自作家董橋的同名文集，文章裡頭他提及自己所藏的豐子愷作品，一把扇子畫一 家人在家門前掃地備茶，題上「今朝風日好，或恐有人來」一句，將簡單生活裡的美好想望 表露無遺。事實上，在日常生活當中尋求閒適的可能，一直是歷代傳統文人體現自我價值的
撰文／張禮豪
最佳方式。尤其自明清兩代以降，教育普及，知識份子階層大幅增加，不少在仕途難有所
獨立策展人兼藝評家
獲，或者因看破政治風波險惡的文人認為是否能夠在世俗觀點的富貴功名之外，建構出生活 的趣味、價值與意義，毋寧要比其他任何事情都來得重要許多，「避俗求雅」更順勢成為檢 視一個文人是否成功的重要標準。那麼，何者為俗，孰又是雅呢？明萬曆年間由高濂 （1573-1620）所著的《遵生八箋》一書，或可視為足供解釋此一閒適文化之內在精神追求的 最佳說明。
在該作〈燕閑清賞箋〉上卷便有相當清晰的描述：
高子曰：心無馳獵之勞，身無牽臂之役，避俗逃名，順時安處，世稱曰閑。而閑 者，匪徒尸居肉食，無所事事之謂。俾閑而博奕樗蒲，又豈君子之所貴哉？孰知閑 可以養性，可以悅心，可以怡生安壽，斯得其閑矣。余嗜閑，雅好古，稽古之學， 唐虞之訓；好古敏求，宣尼之教也。好之，稽之，敏以求之，若曲阜之舄，歧陽之 鼓，藏劍淪鼎，兌戈和弓，制度法象，先王之精義存焉者也，豈直剔異搜奇，為耳 目玩好寄哉？故余自閑日，遍考鐘鼎卣彝，書畫法帖，窰玉古玩，文房器具，纖細
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洗來疏淨見前峰 2012 壓克力、油彩、麻布 120F
究心。更校古今鑒藻，是非辯正，悉為取裁。若耳目所及，真知確見，每事參訂補 遺，似得慧眼觀法。他如焚香鼓琴，栽花種竹，靡不受正方家，考成老圃，備注條 列，用助清歡。時乎坐陳鐘鼎，几列琴書，帖拓松窗之下，圖展蘭室之中，帘櫳香 靄，欄檻花研，雖咽水餐雲，亦足以忘飢永日，冰玉吾齋，一洗人間氛垢矣。清心 樂志，孰過於此？ 1
這篇序言有意識地將創作與焚香鼓琴、金石書畫、蒔花植竹等活動緊密地結合，有效地填補 了「閑適」一詞所指的具體內容，並且開拓出一個兼具知性與美感的生活類型與態度，進而 成為文人之間互相辨識的標誌。即使來到科學發展迅速的今日，相同的追求其實仍可以見諸 許多類似的活動，像是時下頗為流行的「一日農夫」、「以工換宿」等體驗正同出一轍，而 張翠容便是選擇將之落實在創作之中，讓觀者也能從其畫作裡頭感受到清風明月自吹拂，竹 影相攜過窗紗的寧靜與安好。
重拾畫筆‧益顯自信 身為農家子弟的張翠容，自幼生長在群山圍繞、景致動人的南投竹山，因此多識鳥蟲植物之 名，也成為她孩提時期胡亂塗抹的不變素材。如同其他走上專業創作的人們一樣，她幸運地 獲得家中支持，順利進入竹山高中美術班接受正式的藝術教育並以優異成績考上國立藝專，
1. 高濂，《遵生八箋》，〈燕閑清賞 箋上〉，頁500。
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ESSAY One Fine Day
樹枝穿翠好相容 2012 複合媒材、麻布 40F
師事黃光男等人，專研傳統工筆花鳥書畫一路。但彼時在校內並無所需的相應師資，迫使她 只能自發性地從書籍畫冊裡頭去尋找學習效法的對象，像是崇尚自然、更注重寫生，且採用 兼工帶寫的技巧，以達到畫面營造出詩般意境效果的南宋院體花鳥繪畫名家，以及將西方繪 畫精準的寫實技法融入中國繪畫對於物趣的追求，連帶影響有清一代乃至於民國的西洋傳教 士畫家郎世寧（1688-1766），都成為她創作上更具實質意義的良師。
國立藝專畢業後，張翠容與同窗郭江宋結褵，並且一前一後遠赴西班牙馬德里大學藝術學院 繼續研讀藝術創作，郭江宋成為台灣首位獲得繪畫修復與保存學位的專業修復師，而在那裡 幾年的訓練下來，讓張翠容最為受用的莫過於繪畫材料學一門，從顏料製作、畫布打底、內 框製作、裝裱等事宜，全都可以不假他人一手包辦。1993年張翠容返台之後，選擇了夫唱婦 隨的生活，暫時將創作放下，全心投入畫作修復的工作，讓受到不同程度損壞的畫作得以 「妙手回春」。也是如此，讓她有機會在這些年遍賞眾多中外名家的創作，而且還是從最內 裡開始看起，因而更能揣摩不同藝術家的創作技法與美學思惟。
他們夫婦兩人位於新店的住家與工作室，有著一大片的落地窗，看出去就是她自己精心栽種 照顧多時的竹子，除了一解思鄉情愁之外，這大片風景隨著四時更迭，姿態也千變萬化，不 啻是他們日常休憩時的最佳調劑，或許也正是上述明清文人不拘世塵、避俗求雅的生活真義 體現。尤其可貴的是，總算在歷經了十數年的辛勤努力後，修復工作室的業務規模趨於穩定，
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Breeze under the Moonlight
華姿露滌塵 2012 複合媒材、麻布 64.2×86.8cm
夫婿郭江宋遂支持張翠容重拾畫筆，而這段特殊的體驗也讓她在創作上平添了更多自信與把 握。為了追求畫面的肌理與厚度，同時利於作品長久保存，張翠容易水墨為油彩、壓克力顏 料，在2011年舉辦了首次油畫創作個展，並獲得了來自各方面的諸多鼓勵。
狀寫自然‧勾勒物趣 或許是創作慾望潛藏了太久一段時間，好不容易終於獲得宣洩的機會使然，張翠容過去兩年 將整副精力都放在創作上面，竟爾累積了為數可觀的作品，令許多友朋對於其旺盛的創作力 深表敬佩。在這次「清風映月─張翠容個展」裡頭，共將有54件作品展出，題材更是跨越花 鳥，亦將她歷年來履足包括大陸黃山、台灣合歡山、雪山等多處崇山峻嶺，效法前人「搜盡 奇峰打草稿」的精神，將開闊蒼茫的景致納入筆下的心血結晶展現在觀者眼前。
誠然，乍看之下觀者或許會覺得不少作品的畫面構成似乎與傳統工筆花鳥繪畫頗見雷同之 處，但實則張翠容筆下所描繪者，幾乎無一不是取材自生活所見，而非單純挪用援引既定的 模式或套路。舉例來說，她畫室有著經常有八哥鳥飛來停駐啼叫，久而久之就留下了一個清 晰的形象，自然地出現在她的畫面中。為了描繪風竹，她特別跑到新竹的海邊去觀看那隨風 飄動的竹韻，藉以描繪出生命所經歷的滄桑與面對困境時的堅韌，又如春日到來，只見稚鳥 羽翼漸豐卻仍不敢離巢過遠，或只能等候母鳥餵食，或輕移腳步深怕墜跌等等之情狀，都是
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ESSAY One Fine Day
簾外雨潺潺 2011 壓克力、油彩、麻布 107.3x176cm
經過她反覆深刻的觀察之後所感知，進而抓住某一個時間點的感動，藉以表達其內在的審美 旨趣與文化情感。
遍觀張翠容此次展覽，不難發現所有作品的名稱都來從傳統詩詞中摘句而得，所欲追求的不 外乎是「畫中有詩」的境界，亦即所謂的託物以寄情言志。觀者在欣賞畫作的同時咀嚼前人 詩句，或許對於傳統文化所謂「意在言外」的概念會有更深一步的理解和體悟。由於竹子象 徵著文人清雅脫俗、胸懷坦蕩的情操與氣質，再加上她對竹的百般姿態了然於胸，遂成為不 同作品中點題的不可或缺的最佳主角。如《洗來疏淨見前峰》一作，採取竹枝憑空橫伸而 出，貫透整個畫面的作法看來雖然大膽，卻是她家中庭院所種沙勒綠竹（又稱之為藤竹，杆 纖細而多成攀援狀）自然生長成如是形貌的真實紀錄，不免讓人讚嘆造化可師之處固然多 矣，然而藝術家注重物態的形神特徵，嚴謹生動地將之轉化到作品之中，方能把生活情趣與 思想境界加以延伸傳播。而在背景的處理上，張翠容則刻意先用自動技法任顏料揮灑流動， 營造出猶如水墨暈染的抽象效果，隱然一座座遠山聳立眼前，與一絲不苟的物象描繪形成動 靜之間的強烈對比，使得作品充滿更多的躍動與層次。
《江深竹靜兩三家》一作以傳統書畫聯屏的方式展開，每幅既可視為獨立的創作，相互之間 又可見些微的關連，在此，張翠容將不同種類、身形的鳥類並置在作品之中，或直立站在竹 幹，或從花間俯首下看，均饒富多姿；雖未開口啼叫，卻已巧妙地組成大自然的多重合奏樂
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Breeze under the Moonlight
問取黃鸝 2012 壓克力、油彩、麻布 30M
章，不禁令人遙想未曾出現在畫面當中那兩三家主人自在悠閒過活的情景。《樹枝穿翠好相 容》則把歷代文人最喜在庭園中擺設，面面玲瓏的太湖石放進作品裡頭，與正展翼飛來停些 在密竹之間的白鷺鷥們相映成趣，流露出其追求「米顛拜石」的文人風流。此外，我們也可 看出張翠容不自囿設限，而是將傳統文化的象徵或習見符號巧妙轉換，使作品產生時代新意 的作法，像是《華姿露滌塵》一作中，用來裝盛賁張盛開的火紅雞冠花的陶罐，其上所見就 是一隻寫意的公雞圖騰，尤有甚之，張翠容更以金箔勾勒以凸顯視覺效果，而數千年不變的 喜慶象徵意涵頓時躍然紙上。另外《簾外雨潺潺》一作則純然現代生活寫照，對張翠容而 言，住家的窗戶儼然是一個不時上演著大自然諸般風景的螢幕，風吹、雨聲是不假外求的配 樂，而穿梭飛越樹叢花間的群鳥則是最佳演員……想想，如是的劇碼對於成日奔波忙碌於塵 囂之中的你我來說，又何嘗不是「今朝風日好，或恐有人來」呢？
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ESSAY One Fine Day
Household in Quiet Bamboo Forest 2012 Acrylic and Oil on Linen 120M×3
One Fine Day Article ／ Chang Li-Hao Independent Curator and Art Critic
The topic of this essay borrows from the title of Dong Qiao’s book, One Fine Day. In it, the author writes about his collection of a Feng Zi-Kai work: a fan with a painting on it that featured a family sweeping the floor and preparing tea in front of their house. On it, the words, “one fine day, or perhaps it will be disturbed by others,” are inscribed, fully revealing the desires of a simple life. In fact, the pursuit of relaxation in daily life has been the topic of choice for expressing feelings of self worth throughout history. With the popularization of education and a substantial increase in intellectual elites during the Ming and Qing Dynasty, those who had successful careers and saw through the political distress of their times not only wanted to achieve secular wealth and fame, but also wanted to find interests, values, and meaning in life. Later, this became the most important pursuit. The notion, “avoid secularism and embrace elegance” became the new definition of success for this generation of elites. With that said, what exactly is secular and what is elegant? The Zunsheng Bajian (Eight Discourses on the Art of Living), an encyclopedia compiled by Gao Lian (1573 to 1620) during the Wanli period, provides a better glimpse at the culture and spirit of that era.
The Zunsheng Bajian’s first volume of Yan Xian Qing Shang Jian (Leisurely Appreciation Commentary) states the following:
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Breeze under the Moonlight
Confucius said that, Those not wanting to hunt or not endowed with strong physique can escape secularism and fame to live an idle life. Those who are idle can live off the scraps of others to live a life of complacency.
Then what is leisure and gaming
according to a noble one? Those who know how to leisure can cultivate and enlighten themselves, as well as lead a salubrious life, making them true free men. I am addicted to free time, and to finding elegance in ancient arts. Engage in ancient studies and Tang Yu disciplines. Pursue all things ancient and live a life of stateliness. Embrace, respect, and pursue an arched shoe or a Qiyang drum. Put away the sword, armor, and bow to rise to the top. Embrace the law of nature and a king’s stage of mind will come
The Peak Looming up after Rains 2012 Acrylic and Oil on Linen 120F
naturally. Find what is different and interesting. What else can leisure be than to please the senses? During free time, I drink wine, practice calligraphy, collect jade antique, use the study, and cultivate myself. Referencing what is lacking today and in the past, I learn to leisure. From what one sees and hears; from what one knows. Every detail requires insight. It is like the incense of a guqin or the cultivation of flowers or bamboo. Luxury is not only for the privileged. The old gardener has his ways for finding joy. Sit by the ancient bell, practice some music, and hang some calligraphy in the villa. From the study, one can enjoy wafts of aroma flowing through the window, feast one’s eyes on beautiful flowers, and drink water and eat the clouds. This is enough to make a person forget the days of being hungry.
Crisp jade washes away all
announces in life. What can beat such joys? 1
This foreword consciously and intimately combines creations with incense, lute, inscriptions on bronze and stone tablets, and the planting of flowers and bamboo. In this manner, the specific content referred to by the term, “leisure,” is effectively fleshed out, opening up a style and attitude of life that is both intellectual and aesthetic in nature and becoming a sign of mutual recognition amongst literati. Even in light of the rapid pace of scientific development today, a similar pursuit can actually still be observed in many various activities, such as in currently popular experiences as “one day as a farmer” or “work exchange” programs. Tsui-Jung Chang has chosen to invoke this pursuit in her works, enabling viewers to feel the gentle breezes and bright moons within her paintings along with a sense of tranquility and well-being from bamboo images.
1. Gao Lian, Zunsheng Bajian, Yan Xian Qing Shang Jian, page 500.
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ESSAY One Fine Day
Returning to the Brush ∙ Regaining a Sense of Confidence Born into a family of farmers, Tsui-Jung Chang grew up in Nantou Jhusan, an area surrounded by mountains and wondrous scenery. As a result, she doodled her vast knowledge of birds, insects, and plants onto paper during her childhood.
Much like others who choose to pursue art
professionally, she was fortunate enough to receive the support of her family. She entered Jhushan High School Art Classes to receive a formal art education, and was later admitted to National Taiwan Academy of Art with excellent grades. The Beauty of Branches and Leafs 2012 Mixed Media on Linen 40F
Her mentor, Huang Kuang-Nan,
specialized in traditional flower and bird painting and calligraphy. However, she did not find the resources she needed from the school. As a result, she took it upon herself to search for examples from which she could learn in compilations and albums of paintings. With a deep respect for nature and an increased focus on sketching, she utilizes a combination of fine and freehand brushwork to create poetic realms reminiscent of those by bird painting masters of the Southern Song dynasty. Additionally, she integrates the precision of Western realism techniques into Chinese painting to pursue objects of interest. Qing Dynasty painters and the Western missionary-painter, Giueseppe Castiglione (1688-1766) all became more meaningful mentors to guide in her artistic pursuits.
After graduating from National Taiwan Academy of Art, Chang married her classmate, Chiang-Sung Kuo. One after the other, they enrolled in the school of art at The Complutense University of Madrid to continue their study of art. Kuo later became the first professional restorer in Taiwan to have received a degree in painting restoration and preservation. In the training she received those years, Chang was able to benefit the most from classes on painting materials, such as those involving pigment production, canvas preparation, inner frame construction, mounting, and other topics, which she all tackled without the help of others. After returning to Taiwan in 1993, Chang settled down and focused on her marriage life.
She
temporarily stopped creating art, and devoted herself completely to the work of restoring paintings. Paintings suffering from all sorts of damage were able to be “brought back to life through the magic of her hands.” And, from her experiences during these years, she was able to admire and work with a number of paintings by both Chinese and foreign artists. Even more, she took an innermost perspective to try to better identify the creative techniques and aesthetic pondering of various artists.
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Breeze under the Moonlight
The couple’s home and studio in Xindian features a large floor-to-ceiling window that provides a view to a garden of bamboo that she carefully planted over the years. In addition to helping relieve feelings of homesickness, this expansive scenery continuously changes along with the seasons, providing them with an excellent form of entertainment during times of leisure. Perhaps, this embodies the non-secular pursuits of the Ming and Qing literati mentioned above to avoid vulgarity and seek refinement within life. Now, after more than decades of hard work, the couple’s painting restoration business has finally stabilized. Kuo, her husband, now supports Chang’s return to working with the brush. This special experience has also provided her with more confidence and a deeper understanding of creating art. To achieve the desired texture and thickness to her images, she draws upon her substantial experience in preserving paintings.
Purification 2012 Mixed Media on Linen 64.2×86.8cm
Chang often uses ink paint in place of oil and acrylic paint materials. In 2011, she held her first solo exhibition of oil paintings, and garnered much encouragement from various levels of the art community.
Sketching Nature ‧ Tracing Objects of Interest Perhaps her creative desires had been hidden away for too long of a time. After finally receiving a chance to invoke her talent, Chang focused her entire energy on creating art over the last two years, accumulating a significant number of works. Many of her friends have expressed deep admiration for her exuberant creative energy.
In “Breeze under the Moonlight - A Solo
Exhibition by Tsui-Jung Chang”, a total of fifty-four works were on display whose themes transcend those of birds and flowers to places where she has traveled over the years, such as Huangshan of China, Hehuan Shan and Hsueh Shan of Taiwan, and other various high peaked mountains. Following the “seek wondrous mountain peaks to sketch” spirit of predecessors, she opens and presents vast scenes through painstakingly careful brush strokes.
Without a doubt, viewers, at first glance, may find resemblances to traditional bird and flower paintings within the composition of many of her images. However, the objects depicted by Chang’s brush, almost without exception, are taken from things that she sees in her own life. They are not simply appropriated and referred to to establish a pattern or routine. For example, mynah birds frequently fly into her studio to perch and sing. Over a period of time, they left behind a clear image that naturally appeared in her paintings. To depict bamboos drifting in the
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ESSAY One Fine Day
wind, she specially went to the beach in Hsinchu to observe the movement of sails waving in the wind. This helped her portray the vicissitudes she experienced in life and the tenacity she invoked during times of hardship. Yet, with the arrival of spring, one only sees young birds who do not dare leave the nest too far, or wait for their mother to come feed them, or carefully inch forward afraid to fall down.
By repeatedly conducting observations and reflecting on her
perceptions, she seizes the sense to a particular moment in time to express an intrinsic aesthetic Yellow Birds Singing
experience and cultural sentiment.
2012 Acrylic and Oil on Linen 30M
Viewing this exhibition by Chang, it is it not hard to notice that most of the works are named after ancient sayings, and that the works themselves pursue a realm of “poetic imagery.” They express the aspirations of the artist. When viewing their images, one is also pleasantly confronted with ancient poetry. It can be said that by looking at these works, one can gain a better understanding of the notion, “the meaning is implied,” which is inherent to traditional culture. Since bamboo is a symbol of a literati elegance devoid of secularism, it holds the temperament of a magnanimous mind. In addition, the various guises of bamboo in her paintings are an expression of the soul, making them an indispensable focus of her works. For example, in the work, The Peak Looming up after Rains, bamboo extends into the image from all sides. Although such an approach to the depiction of bamboo might seem bold, it is, in fact, an accurate depiction of the schaller bamboo that grows in the artist’s yard. One cannot help but stand in awe of nature’s many guises when seeing these images. Yet, the artist focuses on capturing the natural essence of a particular state or object, endowing the images with rigor and vividness. Only by doing so are interests in life and the realm of thought propagated. In handling the background, Chang intentionally uses automatic techniques to let paint drizzle and flow over the canvas, creating abstract effects with ink smudges. Looming ahead, a mountain forms a strong contrast between motion and static states when placed alongside meticulously painted details. This adds an extra layer of dynamism to the work.
The work, Household in Quiet Bamboo Forest, is composed of a series of paintings, which can also stand alone by themselves. Yet, it is their subtle associations that make the connection between them apparent.
Chang paints many species of birds in various guises that appear
throughout the works. Some are standing on a bamboo branch, while some are looking down from amidst flowers. These make for a memorable scene. Although the birds are just images on
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Breeze under the Moonlight
The Drizzling Rain 2011 Acrylic and Oil on Linen 107.3x176cm
a canvas, one can almost hear their chirping in a symphony of nature. One cannot help but imagine the leisurely lives enjoyed by the households that once resided in this scene. Within the work, The Beauty of Branches and Leafs, the artist includes her favorite garden furnishing - an eroded piece of exquisite limestone. Placed amidst egrets and a dense bamboo forest, it forms an interesting composition that evokes the literati imagery of “Mi Fu honors the stone.” Furthermore, we can notice how Chang does not impose restrictions on herself. She cleverly transforms symbolic or conventional icons of traditional culture by imbuing them with a modern meaning. Purification features a vase holding a fiery red crown vetch. The artist painted them as an impressionistic depiction of a cockscomb. Furthermore, Chang adds glitter to the painting to enhance its visuals. A traditional symbol of festivity springs to life on the paper. The Drizzling Rain is simply a portrayal of modern life. For Chang, the windows of her home are like a stage on which nature performs. Sounds of wind and rain provide musical effects. The birds shuttling amidst the greenery make for the best actors on this stage. Think about it... For most of us living amidst the hubbub of city life, why wouldn’t we want to try to experience “one fine day, or perhaps it will be disturbed by others”?
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ARTIST STATEMENT Exploring the Inner Landscape
創作自述
清風映月˙筆放心情
撰文／張翠容
前人言：「詩是無形畫，畫是有形詩」 1 ，詩人作詩時，用繪畫的角度將中國筆墨 色彩以自然物象布局入詩，彷彿藉由文字來虛構無形畫一般，加強了詩歌的藝術美 感意境。而畫家，作畫時用詩的意境，藉由中國詩辭中所蘊含的畫意，透過繪畫的 描繪，將詩的神韻訴諸於視覺圖像，以具體呈現詩境。詩畫雖分屬於兩個不同的形 式，都是在反應以自然美為師的藝術！
繼2011年「心鏡之航」之後，此次個展「清風映月」是在尊彩藝術中心的第二次個 展。此次我延續源源不絕的素材，藉景物的描繪來襯托、比喻、暗示、象徵內心抽 象的、主觀的藝術形式；汲取水墨畫文人「寫意」的藝術精神，以清淡顏色入詩， 給人樸素平靜的畫面和淡雅的氣氛；加上冷色和暖色的對比映襯，使色彩空間更具 張力。同時運用西畫的「寫實」技法，運用設色、明暗、空間結構、透視法烘托淡 雅之境。創作之餘，除了體物入微外，研習花卉、蒔花植草、觀察萬物靈動姿態， 將一切大自然物象，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。我在同一個題材時常有成套繪同異表現之處，就 在表現萬物大同之下，各有其微妙細緻的特質如《雙鵝悠然伴晨光》、《香暖芰荷 風銀羽》、《亭閒伴鶴》、《梅竹爭春》、《天香吹遍傲仙姿》、《飄香送豔春多 少》、《行光一道映朝霞》、《似有濃粧出絳紗》、《曾為梅花醉似泥》、《紅蠟 枝頭雙燕小》、《花枝暖欲舒》、《華姿露滌塵》、《高節禪枝宿眾鳥》、《風驚 曉葉如聞雨》….等。
有幸身為現代畫家，接受中西不同文化的藝術薰陶，在歲月的激盪下調和兩者的衝 突，將彼此的互補性揉織成「中西融合」的氛圍，演化出另一種「無分中西」的藝 術。再者，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「渲染的筆觸賦色」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。另一方面，佐以現代的繪畫技巧，擷 1. 郭熙崇尚儒家的文人思想，主張詩畫合一：「詩中有畫， 畫中有詩」、「詩是無形畫，畫是有形詩」。
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取現實中的物，畫出東方美學內涵「象外之象、景外之景」之境，其著重的不只是 追求外物客觀的形象美，而是展現詩境般的「筆放心情」主觀且獨樹一幟的藝術美。
Breeze under the Moonlight
Artist Statement
Breeze under the Moonlight－ Exploring the Inner Landscape
Article／Tsui-Jung Chang
A Northern Song Dynasty painter has once said that “poetry is the invisible
similarity, such as Two Geese in the Dawn Light, The Lotus in the Warm
painting while painting is the visible poetry.”
When a poet is writing a
Breeze, The Crane and the Pavilion, Plums and Bamboos Greet the Early
poem, the poet often depicts the natural phenomena for readers to imagine the
Spring, The Divine Fragrance, The Fragrance of the Spring, The Pathway in
traditional Chinese ink-wash and the colors as if it is an invisible painting
the Sunglow, Blossom as Beautiful Makeup, Lost in the Plum Blossom, The
composed with words, emphasizing the artistic conception of poetry; when a
Two Small Swallows on the Branch, The Flower Branch Stretching in the
painter is working on a painting, on the other hand, the painter often
Warmth, Purification, The Branch Sheltering the Birds, The Rustling Leaves,
visualizes the spirit of poetry through revealing the images which are subtly
and etc.
1
represented in the Chinese poetry, creating a visual world for poetry. Although poetry and painting are two difference practices of art, they both
I think of myself as lucky to be a modern painter influenced by both the
reflect the beauty of the nature.
Eastern and the Western cultures. With the passing of time, the conflict between the two has been gradually pacified and mediated.
These two
After the exhibition ”Mirror of the Heart” in Liang Gallery, “Breeze under the
eventually become the complement of each other, being transformed into an
Moonlight” is my second solo exhibition.
I explore the inner abstract
artistic style where the distinction no longer exists. Making the best use of
landscape by sketching nature. And absorb the spirit of the “enjoyable style”
the materials – particularly their unique quality and technique –adopted in the
of Chinese painting (Xieyi painting) as practiced by the ancient ink-wash
modern Western painting and the modern Eastern painting, I attempt to
artists. The light colors are used to visualize the “poetry,” creating a peaceful
emphasize the flows and the actions of the abstract expression. Through the
and simple image with an elegant atmosphere; the contrast of the cold colors
combination of the strokes, the coloring skills, the handmade rendering to
and the warm colors, meanwhile, increases the intensity of the space. In my
represent the textile, and the use of gold leaf, I create a world of subtlety,
paintings, I also borrow the “realistic” technique from the Western painting,
quietness, and solitude.
– expressed in the use of color, light, composition, space, and perspective – to
modern painting technique, as the main essence of the Eastern aesthetics –
depict the simplicity. During my leisure time while I am not working, I will
“the image outside the image; the scene outside the scene.” What we pursue
study the flowers and the plants, observing the way they move or the way they
should not be the objective beauty of the external appearance, but the artistic
remain still. All the natural phenomena (including mountains, water, wind,
beauty which reveals the poetic essence in a subjective way.
The objects in reality are thus depicted with a
sunlight, rain, and snow) or the creation of life (including flowers, birds, plants, and bugs) are represented as metaphors which carry one’s spiritual personality, demonstrating an artistic style which embraces the “trinity” – the image, the meaning, and the spirit. When I am working on the same subject, I often make my characters in pairs to represent both the difference and the
1. Following the teaching of Confucianism, Guo Xi, the Chinese landscape painter who lived during the Northern Song Dynasty, argued that there should be no distinction between poetry and painting: “there is painting in poetry, and poetry in painting” and “poetry is the invisible painting while painting is the visible poetry.”
23
江深竹靜兩三家
Household in Quiet Bamboo Forest 2012 Acrylic and Oil on Linen 120M×3
26
白頭已上枝
Chinese Bulbul Perched on a Branch 2012 Acrylic and Oil on Linen 83.8x211.5cm
29
雙鵝悠然伴晨光
Two Geese in the Dawn Light 2011 Acrylic and Oil on Linen 40F
30
香暖芰荷風銀雨
The Lotus in the Warm Breeze 2011 Acrylic and Oil on Linen 40F
32
亭閒伴鶴
The Crane and the Pavilion 2011 Oil on Linen 67x57.3cm
34
梅竹爭春
Plums and Bamboos Greet the Early Spring 2011 Oil on Linen 67.5x57.3cm
36
節比清風
Beauty of Bamboo Stalk 2012 Mixed Media on Linen 108.5×108.5cm
38
華實並麗（孔雀） Beauty Peacocks 2012 Mixed Media on Linen 108.5×108.5cm
40
天香吹遍傲仙姿
The Divine Fragrance 2011 Oil on Linen 20F
42
飄香送豔春多少
The Fragrance of the Spring 2011 Oil on Linen 20F
44
行光一道映朝霞
The Pathway in the Sunglow 2011 Acrylic and Oil on Wood 8P
46
似有濃 粧出絳紗
Blossom as Beautiful Makeup 2011 Acrylic and Oil on Wood 8P
48
曾為梅花醉似泥
Lost in the Plum Blossom 2011 Acrylic and Oil on Linen 40F
50
紅蠟枝頭雙燕小
The Two Small Swallows on the Branch 2012 Acrylic and Oil on Linen 40F
52
花枝暖欲舒
The Flower Branch Stretching in the Warmth 2012 Mixed Media on Linen 25M
54
華姿露滌塵 Purification 2012 Mixed Media on Linen 64.2×86.8cm
56
高節禪枝宿眾鳥
The Branch Sheltering the Birds 2012 Acrylic and Oil on Linen 40F
58
風驚曉夜如聞雨
The Rustling Leaves 2012 Acrylic and Oil on Linen 40F
60
前溪后嶺萬蒼松
Pine Trees on Hill 2011 Acrylic and Oil on Linen 40F
62
樹枝穿翠好相容
The Beauty of Branches and Leafs 2012 Mixed Media on Linen 40F
64
花潭竹嶼傍幽蹊
Bamboo Forest on Island 2012 Acrylic and Oil on Linen 120F
66
洗來疏淨見前峰
The Peak Looming up after Rains 2012 Acrylic and Oil on Linen 120F
68
問取黃鸝
Yellow Birds Singing 2012 Acrylic and Oil on Linen 30M
70
簾外雨潺潺
The Drizzling Rain 2011 Acrylic and Oil on Linen 107.3×176cm
72
窗含西嶺千秋雪
Xiling Snow Mountain outside the Window 2012 Acrylic and Oil on Linen 100M
74
馨香逐曉風
The Winds Bring the Aroma 2011 Acrylic and Oil on Linen 10F
76
搖風映鳥吟
Birds Playing next to the Pond 2011 Acrylic and Oil on Linen 20F
78
春暖丹華爭吐豔 Spring Blossoms 2011 Oil on Linen 79.5×110.5cm
80
花枝春滿
Spring Blossoms 2011 Acrylic and Oil on Linen 15F
82
晴露珠共合
Dew on Lotus Leaf 2012 Acrylic and Oil on Linen 50.3×160cm
84
85
繁蜂蕊上音
Bees Flying around Flowers 2011 Oil on Linen 55.2×160cm 86
87
秋山明淨（雪山北峰）
Mountains with Autumn Colors 2011 Mixed Media on Wood 4F
88
秋水纔深
Limpid Autumn Waters 2011 Mixed Media on Linen on Wood 20F
90
水路風光氣象龐
Beautiful Landscape of Flowing Water 2011 Acrylic and Oil on Linen 40F
92
多少樓臺煙雨中
Water Vapor Bring Rain 2011 Acrylic and Oil on Wood 8F
94
浮煙翠且重（合歡山）
Water Vapor above the Mountain 2011 Acrylic and Oil on Linen 15F
96
潾潾碧水自天來 River Tributary 2011 Acrylic and Oil on Linen 6F
98
仰過九層山
Mountain Ranges 2011 Acrylic and Oil on Linen 10F
100
峰迴勢未休
Mountain Ranges 2011 Acrylic and Oil on Wood 4F
102
渾同萬馬直奔騰
Waterfall Scenery 2011 Acrylic and Oil on Wood 8F
104
雲氣隨飛龍
Clouds of Water Vapor 2011 Acrylic and Oil on Linen 12P
106
嵯峨俯瞰漓江水
Water Vapor above the River 2011 Acrylic and Oil on Linen 12F
108
深叢隱孤芳
A Hidden Flower 2011 Mixed Media on Linen 30.2×43.5cm
110
浮香繞曲岸
A Gorgeous Cat 2011 Acrylic and Oil on Wood 6F
112
花隱掖垣暮
Flowers in Dusk 2011 Acrylic and Oil on Wood 6F
114
瀟灑碧玉枝
Bamboo Lake Waterfall 2012 Acrylic and Oil on Linen 50P
116
凝霜竦高木
Winter Tree Covered with Frost 2011 Acrylic and Oil on Linen 10F
118
俯涉綠水澗
Wading in the Water 2011 Acrylic and Oil on Linen 50F
120
村外雞聲唱曉忙
Roosters Crow at Dawn 2011 Acrylic and Oil on Linen 50F
122
芰荷開繞塘
The Lotus Pond 2012 Acrylic and Oil on Linen 91×60.2cm
124
波面出仙妝，秀色粉絕世
Lotus Flowers Rising out from Water 2012 Mixed Media on Linen 10M
126
丹口金輔傳好音 Beauty Peacocks 2012 Acrylic and Oil on Linen 30F
128
丹葩結秀
Fructify Tree 2012 Mixed Media on Linen 20F
130
花發坼曉風
Plum Blossom in the Morning 2012 Acrylic and Oil on Linen 60.3×91cm
132
素 描 Sket ch
搖風映鳥吟（草圖）
Birds Playing next to the Pond (Sketch) 2011 Watercolor on Paper 33×23cm
136
亭閒伴鶴（草圖）
The Crane and the Pavilion (Sketch) 2011 Watercolor on Paper 33×23cm
137
凝霜竦高木（草圖）
Winter Tree Covered with Frost (Sketch) 2011 Watercolor on Paper 23×33cm
138
俯涉綠水澗（草圖）
Wading in the Water (Sketch) 2011 Oil on Wood 15.5×22.5cm
139
春暖丹華爭吐豔（草圖 1） Spring Blossoms (Sketch 1) 2010 Oil on Wood 22.2×17.5cm
140
春暖丹華爭吐豔（草圖 2） Spring Blossoms (Sketch 2) 2010 Oil on Wood 17.5×22.2cm
春暖丹華爭吐豔（草圖 3） Spring Blossoms (Sketch 3) 2010 Oil on Wood 17.5×22.2cm
141
ABOUT ARTIST
張翠容 1963年出生於台灣南投縣
學歷
西班牙馬德里大學（Complutense University of Madrid）藝術
1989
「國立藝專師生聯展」，巴黎高等美術學院，巴黎，法國
學院繪畫創作碩士
1988
「寅薪畫會聯展」，新生畫廊，台北，台灣
1987
國立台灣藝術專科學校美術科國畫組（現為國立台灣藝術大學）
1987
「郭江宋、張翠容水墨聯展」，花蓮縣立文化中心，花蓮，台灣
1981
竹山高中美工科
1993
獲獎 經歷 1993-94
任教於花蓮師範學院美勞系
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
1991
馬德里第三屆國際寫生比賽，入選
1989
全國美展水墨畫，優選 台灣省第四十三屆美展水墨畫，優選
1988
台北市第十五屆美展水墨畫，第一名
1987
台灣省第四十二屆美展水墨畫，第一名（省政府獎） 台北市第十四屆美展水墨畫，第二名
個展 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
1986
台灣省第四十一屆美展水墨畫，優選 台灣省第四十一屆美展水彩，入選 全國美展水墨畫，入選 全國青年國畫創作美展，佳作
聯展 2012
「2012台北國際藝術博覽會」，台北世界貿易中心：尊彩 藝術中心，台北，台灣
典藏
「飛行熱氣球—台灣當代藝術展」，尊彩藝術中心，台北，台灣
1988
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」，比亞努埃瓦德，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
142
《相呼雪一群》，水墨，台北市立美術館 《聽秋》，水墨，國立台灣美術館
1987
《竹塘鵝語》，水墨，台北市立美術館 《竹塘鵝戲》，水墨，國立台灣藝術大學藝術博物館
Breeze under the Moonlight
Tsui-Jung Chang Born in 1963, Nantou, Taiwan
EDUCATIONS 1993 Master of Fine Arts, College of Fine Arts, University Complutense of Madrid, Spain 1987 Bachelor of Fine Arts, Chinese Painting, College of Fine Arts, National Academy of Arts, Taiwan (Now National Taiwan University of Arts) 1981 High School Degree, Arts & Crafts, National Chushan Senior High School, Nantou, Taiwan EXPERIENCES 1993-94 Received a teaching position in the Department of Fine Arts, National Hualien Teachers College, Taiwan (Now National Dong Hua University) 1992-93 Served as an assistant for Manuel Huertas Torrejón, a professor in Materials Science at the University Complutense of Madrid, Spain
SOLO EXHIBITIONS 2012 ”Breeze under the Moonlight”, Liang Gallery, Taipei, Taiwan 2011 “Mirror of the Heart”, Liang Gallery, Taipei, Taiwan GROUP EXHIBITIONS 2012 “Art Taipei 2012”, Taipei World Trade Center: Liang Gallery, Taipei, Taiwan “Exploring with a Balloon-Taiwan Contemporary Art Exhibition”, Liang Gallery, Taipei, Taiwan
2011 1993 1992
1991
1989
1988 1987
“Celebrating Spring Together-Group Exhibition of Ten Contemporary Artists”, Liang Gallery, Taipei, Taiwan ”Group Exhibition with Oriental Artists”, Villanueva, Madrid, Spain ”Selected for the Art College Photo Exhibition”, University Complutense of Madrid, Spain ”Selected for the 5th El Corte Inglés Art Salon”, Madrid, Spain ”Selected for the Art College Exhibition”, University Complutense of Madrid, Spain ”Selected for the Clock House Exhibition”, Madrid, Spain ”A Joint Exhibition with Students and Teachers of National Academy of Arts”, Ecole Nationale Superieure Des Beaux-Arts, Paris, France ”A Joint Exhibition with Yin Hsin Art Group”, Hsin Sheng Gallery, Taipei, Taiwan ”A Joint Exhibition with Kuo Chiang Sung”, Hualien County Cultural Center, Hualien, Taiwan
AWARDS 1989 Merit Award in Chinese Painting, National Art
1988
1987
1986
First Prize in Chinese Painting, 42nd Taiwan Provincial Fine Arts Exhibition Second Prize in Chinese Painting, 14th Taipei Art Exhibition Second Prize in Chinese Painting, Kaohsiung Art Exhibition Merit Award in Chinese Painting, 41st Taiwan Provincial Fine Arts Exhibition Selected Award in Water Color Painting, 41st Taiwan Provincial Fine Arts Exhibition Selected Award in Chinese Painting, National Art Exhibition of the Republic of China Excellent Work, National Youth Calligraphy and Painting Exhibition
PUBLIC COLLECTIONS 1988 Snow, Taipei Fine Arts Museum 1987
Listening Autumn, National Taiwan Museum of Fine Arts Talking Geese, Taipei Fine Arts Museum Playing Geese, Art Museum of National Taiwan University of Arts
Exhibition of the Republic of China Merit Award in Chinese Painting, 43rd Taiwan Provincial Fine Arts Exhibition
First Prize in Chinese Painting, 15th Taipei Art Exhibition
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CATALOG
圖錄 Catalog 花枝暖欲舒 The Flower Branch Stretching in the Warmth 2012 複合媒材、麻布 Mixed Media on Linen 25M P. 55
江深竹靜兩三家 Household in Quiet Bamboo Forest 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen 120M×3 P. 27
亭閒伴鶴 The Crane and the Pavilion 2011 油彩、麻布 Oil on Linen 67×57.3cm P. 35
白頭已上枝 Chinese Bulbul Perched on a Branch 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen
梅竹爭春 Plums and Bamboos Greet the Early Spring
83.8×211.5cm
2011
P. 28
油彩、麻布 Oil on Linen 67×57.3cm P. 37
雙鵝悠然伴晨光 Two Geese in the Dawn Light 2011 壓克力、油彩、麻布 Acrylic and Oil on Linen 40F P. 31
節比清風 Beauty of Bamboo Stalk 2012 複合媒材、麻布 Mixed Media on Linen 108.5×108.5cm P. 39
144
香暖芰荷風銀雨 The Lotus in the Warm Breeze
華實並麗（孔雀） Beauty Peacocks
2011
2012
壓克力、油彩、麻布 Acrylic and Oil on Linen
複合媒材、麻布 Mixed Media on Linen
40F
108.5×108.5cm
P. 33
P. 41
Breeze under the Moonlight
天香吹遍傲仙姿 The Divine Fragrance
曾為梅花醉似泥 Lost in the Plum Blossom
2011
2011
油彩、麻布 Oil on Linen
壓克力、油彩、麻布 Acrylic and Oil on Linen
20F
40F
P. 43
P. 51
飄香送豔春多少 The Fragrance of the Spring
紅蠟枝頭雙燕小 The Two Small Swallows on the Branch
2011
2012
油彩、麻布 Oil on Linen
壓克力、油彩、麻布 Acrylic and Oil on Linen
20F
40F
P. 45
P. 53
行光一道映朝霞 The Pathway in the Sunglow
高節禪枝宿眾鳥 The Branch Sheltering the Birds
2011
2012
壓克力、油彩、畫板 Acrylic and Oil on Wood
壓克力、油彩、麻布 Acrylic and Oil on Linen
8P
40F
P. 47
P. 59
似有濃粧出絳紗 Blossom as Beautiful Makeup
風驚曉夜如聞雨 The Rustling Leaves
2011
2012
壓克力、油彩、畫板 Acrylic and Oil on Wood
壓克力、油彩、麻布 Acrylic and Oil on Linen
8P
40F
P. 49
P. 61
華姿露滌塵 Purification
前溪后嶺萬蒼松 Pine Trees on Hill
2012
2011
複合媒材、麻布 Mixed Media on Linen
壓克力、油彩、麻布 Acrylic and Oil on Linen
64.2×86.8cm
40F
P. 57
P. 63
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CATALOG
樹枝穿翠好相容 The Beauty of Branches and Leafs 2012 複合媒材、麻布 Mixed Media on Linen 40F P. 65
窗含西嶺千秋雪 Xiling Snow Mountain outside the Window 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen 100M P. 75
馨香逐曉風 The Winds Bring the Aroma 花潭竹嶼傍幽蹊 Bamboo Forest on Island
2011
2012
壓克力、油彩、麻布 Acrylic and Oil on Linen
壓克力、油彩、麻布 Acrylic and Oil on Linen
10F
120F
P. 77
P. 67
搖風映鳥吟 Birds Playing next to the Pond 洗來疏淨見前峰 The Peak Looming up after Rains 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen
2011 壓克力、油彩、麻布 Acrylic and Oil on Linen 20F P. 79
120F P. 69
春暖丹華爭吐豔 Spring Blossoms 2011
問取黃鸝 Yellow Birds Singing 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen 30M P. 71
簾外雨潺潺 The Drizzling Rain 2011 壓克力、油彩、麻布 Acrylic and Oil on Linen 107.3×176cm P. 73
146
油彩、麻布 Oil on Linen 79.5×110.5cm P. 81
晴露珠共合 Dew on Lotus Leaf
2012 壓克力、油彩、麻布 Acrylic and Oil on Linen 50.3×160cm P. 84, 85
繁蜂蕊上音 Bees Flying around Flowers 2011 油彩、麻布 Oil on Linen 55.2×160cm P. 86, 87
Breeze under the Moonlight
潾潾碧水自天來 River Tributary
秋山明淨（雪山北峰） Mountains with Autumn Colors
2011
2011
壓克力、油彩、麻布 Acrylic and Oil on Linen
複合媒材、畫板 Mixed Media on Wood
6F
4F
P. 99
P. 89
花枝春滿 Spring Blossoms 2011 壓克力、油彩、麻布 Acrylic and Oil on Linen 15F
深叢隱孤芳 A Hidden Flower 2011 壓克力、麻布 Mixed Media on Linen 30.2×43.5cm P. 111
P. 83
仰過九層山 Mountain Ranges 2011 壓克力、油彩、麻布 Acrylic and Oil on Linen 10F
秋水纔深 Limpid Autumn Waters 2011 複合媒材、麻布裱於畫板 Mixed Media on Linen on Wood 20F P. 91
P. 101
水路風光氣象龐 Beautiful Landscape of Flowing Water
峰迴勢未休 Mountain Ranges
2011
2011
壓克力、油彩、麻布 Acrylic and Oil on Linen
壓克力、油彩、畫板 Acrylic and Oil on Wood
40F
4F
P. 93
P. 103
多少樓臺煙雨中 Water Vapor Bring Rain
雲氣隨飛龍 Clouds of Water Vapor
2011
2011
壓克力、油彩、畫板 Acrylic and Oil on Wood
壓克力、油彩、麻布 Acrylic and Oil on Linen
8F
12P
P. 95
P. 107
147
CATALOG
浮煙翠且重（合歡山） Water Vapor above the Mountain 2011 壓克力、油彩、麻布 Acrylic and oil on linen 15F P. 97
渾同萬馬直奔騰 Waterfall Scenery 2011 壓克力、油彩、畫板 Acrylic and Oil on Wood 8F P. 105
嵯峨俯瞰漓江水 Water Vapor above the River 2011 壓克力、油彩、麻布 Acrylic and Oil on Linen 12F P. 109
148
浮香繞曲岸 A Gorgeous Cat 2011 壓克力、油彩、畫板 Acrylic and Oil on Wood 6F P. 113
花隱掖垣暮 Flowers in Dusk 2011 壓克力、油彩、畫板 Acrylic and Oil on Wood 6F P. 115
村外雞聲唱曉忙 Roosters Crow at Dawn 2011 壓克力、油彩、麻布 Acrylic and Oil on Linen 50F P. 123
凝霜竦高木 Winter Tree Covered with Frost
丹口金輔傳好音 Beauty Peacocks
2011
2012
壓克力、油彩、麻布 Acrylic and Oil on Linen
壓克力、油彩、麻布 Acrylic and Oil on Linen
10F
30F
P. 119
P. 129
俯涉綠水澗 Wading in the Water
丹葩結秀 Fructify Tree
2011
2012
壓克力、油彩、麻布 Acrylic and Oil on Linen
複合媒材、麻布 Mixed Media on Linen
50F
20F
P. 121
P. 131
Breeze under the Moonlight
瀟灑碧玉枝 Bamboo Lake Waterfall 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen 50P
搖風映鳥吟（草圖） Birds Playing Next to the Pond (Sketch) 2011 水彩紙本 Watercolor on Paper 33×23cm P. 136
P. 117
波面出仙妝，秀色粉絕世 Lotus Flowers Rising out from Water 2012 複合媒材、麻布 Mixed Media on Linen 10M P. 127
亭閒伴鶴（草圖） The Crane and the Pavilion (Sketch) 2011 水彩紙本 Watercolor on Paper 33×23cm P. 137
凝霜竦高木（草圖） Winter Tree Covered with Frost (Sketch) 2011
花發坼曉風 Plum Blossom in the Morning 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen
水彩紙本 Watercolor on Paper 23×33cm P. 138
60.3×91cm
俯涉綠水澗（草圖） Wading in the Water (Sketch)
P. 133
2011 油彩、木板 Oil on Wood 15.5×22.5cm P. 139
芰荷開繞塘 The Lotus Pond 2012 壓克力、油彩、麻布 Acrylic and Oil on Linen
春暖丹華爭吐豔（草圖 2） Spring Blossoms (Sketch 2) 2010
91×60.2cm
油彩、木板 Oil on Wood
P. 125
17.5×22.2cm P. 141
春暖丹華爭吐豔（草圖 1） Spring Blossoms (Sketch 1)
春暖丹華爭吐豔（草圖 3） Spring Blossoms (Sketch 3)
2010
2010
油彩、木板 Oil on Wood
油彩、木板 Oil on Wood
22.2×17.5cm
17.5×22.2cm
P. 140
P.141
149
Breeze under the Moonlight
張 翠 容 Tsui-Jung Chang
發行人
余彥良
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
2012年11月初版
ISBN
978-986-88331-4-2 （平裝）
Executive Director
Yu Yen-Liang
Publisher
Liang Gallery Co., Ltd
Editor
Liang Gallery
Printing
Jih-Tung Art Pringting Co., Ltd.
Publishing Date
First Edition, November, 2012
ISBN
978-986-88331-4-2 (Paperbound Edition)
www.lianggallery.com‧Tel +886-2-2797-1100‧Fax +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
www.lianggallery.com