尊彩藝術中心－2017香港巴塞爾藝術展《思變中的中國抽象水墨世紀》｜Liang Gallery – Art Basel Hong Kong 2017 by Liang Gallery

Chao Chung-Hsiang

趙春翔

Chu Ko

楚戈

Lee Chung-Chung

in Chinese Abstract Painting

李重重

Contemplating Changes

展覽論述

Exhibition Concept

趙春翔

Chao Chung-Hsiang

楚戈

Chu Ko

李重重

Lee Chung-Chung

尊彩藝術中心

Liang Gallery

超驗與象徵−台灣戰後美術與新造形主義

Transcendence and Symbol: Art and Neoplasticism in Post-war Taiwan 國立台灣師範大學美術學系教授白適銘 Pai Shih-Ming / Professor, Department of Fine Arts, National Taiwan Normal University

一個時代的印記−思變中的中國抽象水墨世紀 The Seal of an Era: Contemplating Changes in Chinese Abstract Painting 《藝術家》雜誌總編輯莊偉慈 Chuang Wei-Tzu / Editor in Chief, Artist Magazine

Exhibition Concept

展覽論述

Contemplating Changes in Chinese Abstract Painting

Chao Chung-Hsiang, Chu Ko and Lee Chung-Chung were

and modernity, and included deep cultural connotations. These

born in China, yet moved to Taiwan in 1945 together with the

artists launched the movement of abstract ink art, which had

Kuomintang military troops as a result of the Chinese Civil

become the milestone in the modernization of ink art.

War and government changeover in China. This turbulent period is now known as the great migration of Chinese culture

Since the 1960s, Chao Chung-Hsiang, Chu Ko and Lee Chung-

and the movement of nations, which marked the changes in

Chung’s artworks have been selected for a great number of

people’s mindset since they moved to new territories and were

exhibitions, through which they spread their innovative ink art

influenced by the local environment. Mainly due to the former

ideas and garnered much of the attention around the world. In

reasons, from the 1960s onwards, Chinese ink-wash painting

addition to their sublime achievements in modern Chinese ink

has become the center of origin of modern ink painting in

painting and cultural contributions, they have also had a great

Taiwan.

influence on modernization of ink art by means of exhibitions and lectures. They made significant achievements in the history

In the 1960s, the art world in Taiwan faced a wave of artistic

of modern ink art.

innovation and dialectical thinking, thus echoing with the upsurge of abstract art in the wide world. All three artists

Liang Gallery is committed to the promotion of outstanding

inherited the mode of thinking and painting from traditional

Taiwanese artists and aims to reveal the influence and

Chinese ink-wash art, but abandoned the restrictions of

significance of the era of art through the lenses of art history.

traditional painting by means of experimenting with ink and paper, including abstract white spaces surpassing forms and

At the 2017’s edition of Art Basel Hong Kong, the gallery will

figures. Their practices and perspectives of creation focused on

display works by three outstanding modern ink artists. The

abstract expressionism, merged eastern and western creative

exhibition will focus and reflect artistic exchange between the

thinking, gathered the continuation and innovation of tradition

East and West.

趙春翔

夏之盛

Chao Chung-Hsiang

Summer Blooms

水墨、壓克力、布上紙

Ink and acrylic on paper mounted on canvas × 138.7cm 180 1970

Contemplating Changes in Chinese Abstract Painting

趙春翔、楚戈、李重重三位畫家出生於中國，在

1 9 4年 5 的

1 9 6年 0 代至今，

文化大遷移的動盪時代，民族的移動，思想隨著環境而產生

中國、國共內戰後，陸續隨軍隊移居至台灣，這是一段中國了新的方向，使得中國水墨藝術在台灣於成爲現代水墨藝術的發源重心。

1 9 6年 0 代的台灣藝術界，產生了一波藝術革新與辯證的思

潮；呼應同時期全球抽象藝術興起的風潮。三位藝術家以傳

承中國水墨藝術的思維與繪畫形式，進行水墨、紙本媒材的實驗，其中抽象的留白象徵，超越形象，並走出了傳統繪畫的束縛，以抽象表現主義的手法及觀點創作，在東、西方的創作思維上、傳統與現代的延續、創新，進行創造自身文化

1 9 6年 0 代起，長期發表

特色的抽象水墨藝術革新運動，樹立水墨藝術現代化的里程碑。趙春翔、楚戈、李重重三人分別自

抽象水墨畫展，並以學術交流促使新水墨藝術的革新思潮

推廣至全世界廣受矚目。其個人崇高的藝術成就，來自於一生為中國水墨現代化行走世界各地展覽、演講，文化貢獻良

思變中的中國抽象水墨世紀

多，為現代水墨藝術史留下重要成就。

尊彩藝術中心致力推廣優秀台灣藝術家，以藝術史的觀點出

發，著重藝術的時代影響力與永恆意義。

2 0 1 7香港巴塞爾藝術展，隆重展出三位藝術成就卓越的現

代水墨藝術家；並藉此水墨藝術三人展，作為東西方藝術交

流的呈現。

Artists

藝術家

趙春翔 Chao Chung-Hsiang

Chao Chung-Hsiang

1 9 1年 0

1 9 3年 9

1 9 4年 8

1 9 5年 4

1 9 5年 5

1 9 5年 8

1 9 8 1 - 1 9 9年 1

生於中國河南。

畢業於國立杭州藝專科藝術系。趙春翔就讀

杭州藝專期間，受教於林風眠與潘天壽；當

時與趙無極、朱德群為同學。

移居台灣台北，任教台灣省立師範學院︵今

國立台灣師範大學︶、台北政治作戰學校。

藝術

與李仲生、朱德群、林聖揚、劉獅於台北中

山堂舉行現代畫聯展，為台灣畫壇開

現代化思潮。

獲西班牙政府獎金，赴馬德里深造。

赴美國紐約創作定居。

1 9 9年 1 逝世。

返台定居，展覽、任教，往返台灣、香港、

中國展覽。

趙春翔的作品保留中國傳統水墨、書道的筆墨氣韻，結合西

方現代造形的精神，創造出﹁中西合璧﹂的表現形式，追求

﹁不以形似、但求神似﹂的意境，開拓中國繪畫現代化的新

境界。

曾於紐約、倫敦、多倫多、上海、香港、新加坡等地展出。

作品曾獲大都會美術館、布魯克林美術館、北京中國美術

館、上海美術館、台北市立美術館及國立台灣美術館典藏。

which gave the start to the modernization of art in Taiwan. In 1955, he won a fellowship to study in Spain and went to Madrid for further studies. In 1958, he traveled to the US and settled in New York. In 1981, he came back to Taiwan, where he participated in exhibitions and took teaching positions, his works were selected for exhibitions in Taiwan, Hong Kong and China. Chao managed to retain the spirit of traditional Chao Chung-Hsiang (1910-1991) was born in Henan, China.

Chinese ink painting and calligraphy, which he combined

In 1939, he graduated from the Department of Art at the

with the ideas of modern Western art. He developed a form of

Hangzhou National College of Art, where he was taught by

expression named “East Meets West” which has opened up a

Lin Feng-Mian and Pan Tian-Shou, and was schoolmates with

new realm for modern Chinese painting. His paintings have

Zao Wou-Ki and Chu Te-Chun. Chao came back to Taipei

been exhibited in New York, London, Toronto, Shanghai, Hong

in 1948, where he served as Associate Professor of Arts at the

Kong, and Singapore. His artworks have been collected by the

Department of Fine Arts at the Taiwan Provincial College of

Metropolitan Museum of Art, Brooklyn Museum, the National

Education (now National Taiwan Normal University) and Fu

Art Museum of China, Shanghai Art Museum, Taipei Fine Arts

Hsing Kang College in Taipei. In 1954, together with Li Chun-

Museum, and the National Taiwan Museum of Fine Arts.

Shan, Chu Te-Chun, Lin Sheng-Yang and Liu Shi organized

趙春翔

an exhibition of modern painting at Zhongshan Hall in Taipei,

陰陽與群鳥

Yin Yang and Birds 水墨、油彩、壓克力、畫布

Ink, oil and acrylic on canvas × 128cm 128 1976

Chao Chung-Hsiang

趙春翔

無題抽象

Untitled Abstract

水墨、壓克力、畫布

Ink and acrylic on canvas × 127cm 124.5 1969

窗外世界

Outside the Window

水墨、壓克力、紙本

Ink and acrylic on paper × 61cm 92.4

Chao Chung-Hsiang

趙春翔

匯聚

Convergence

水墨、壓克力、紙本

Ink and acrylic on paper × 69.6cm 68.5 1984

生生不息（誕生）

水墨、壓克力、紙本

Ink and acrylic on paper × 56.5cm 95

Endless (Birth)

Chao Chung-Hsiang

趙春翔

無題

Untitled

水墨、壓克力、紙本

Ink and acrylic on paper × 52.4cm 56.3 1989

楚戈 Chu Ko

Chu Ko

1 9 3年 1

1 9 6年 8

1 9 8 1 - 1 9 9年 1

生於中國湖南，本名袁德星，

台灣。

1 9 4年 9 移居

進入國立故宮博物院研究、工作，成為中國

青銅器專家，並以中國圖騰美學做為繪畫的

主題內涵。

2 0 1年 1 逝世。

於世界各地展覽、演講，推動中國水墨現代

化革新觀念。

在台灣現代藝壇上幾乎很難 — 找到像他一樣集文學、評論、研究、創作於一身的重要人物。

楚戈是台灣藝文界的一個傳奇

楚戈年輕時參與台灣現代詩、畫運動，寫現代詩、寫散文，

3年 0

並在報章雜誌上頻繁地發表藝術評論，他下筆既快又利，褒

3歲 5 時，楚戈進入故宮博物院器物處工作，經過

貶不講情面，楚戈的筆名因此聞名遐邇，令藝壇人士又愛又

恨。

的研究淬礪，成為國內知名的青銅器專家，並以個人之力出

、自由不受

版了︽中華歷史文物︾、︽龍史︾等重要的古美術鉅著。

5歲 0 之後楚戈專注潛心藝術創作，他源源不

羈絆的創作力，屢屢創作出豐沛、風格多變令人驚嘆的藝術

作品，備受藝術界肯定，使他成為台灣現代最重要的畫家之

一。

作品曾於中國、美國、加拿大、歐洲各國、日本、香港、韓

國展出。

already well-known in the art community in Taiwan mainly because of his intelligence and talent of self-studying. He participated in the modern poetry and painting movements in Taiwan, and wrote modern poetry as well as prose, and frequently published his works in newspapers and magazines on art criticism. When 35 years old, Chu started working at the National Palace Museum. He spent over thirty years researching Chu Ko (1931-2011), whose real name is Yuan Te-Hsing, was

works of bronze, and published important studies of ancient

born in Hunan, China. In 1949, he moved to Taiwan. In 1968,

art, such as Chinese Historical Art Treasures, History of the

he started working at the National Palace Museum where he

Dragon, and others. Chu Ko was interested in painting and

became an expert in Chinese bronze ware. He also started

calligraphy, and became very much devoted to artistic creation

using aesthetics of Chinese totem as the main theme in his

after he reached 50 years of age. His works were abundant

paintings. From 1970 to 2011, he participated at exhibitions

and stunning in style that made him become one of the most

and lectures, where he was spreading innovative ideas about the

important Taiwanese modern artists.

modernization of Chinese ink painting. His works have been exhibited in China, the US, Canada, Chu was a central figure in Taiwan’s modern art movement as

various countries in Europe, Japan, Hong Kong, and Korea.

楚戈

a poet, art critic, painter and sculptor. At a young age, Chu was

行行復行行

Lines after Lines 水墨、壓克力、紙本

Ink and acrylic on paper × 68.9cm 76 2005

Chu Ko

楚戈

行走的綫

Walking the Line

水墨、壓克力、紙本

Ink and acrylic on paper × 74.5cm 143.2 × 74.2cm 143.2 左右

數往知來

Retracing the Past and Knowing the Future 水墨、壓克力、紙本

Ink and acrylic on paper × 69.4cm 76 2005

Chu Ko

楚戈

釋放

Release

水墨、壓克力、紙本

Ink and acrylic on paper × 188.7cm 95.7 2007

算數

Counting

水墨、壓克力、紙本

Ink and acrylic on paper × 77.9cm 138.8

Chu Ko

楚戈

未成形的宇宙

Unshaped Universe

水墨、壓克力、紙本

Ink and acrylic on paper × 136.4cm 69.5 2005

李重重 Lee Chung-Chung

Lee Chung-Chung

1 9 4年 2

1 9 4年 5

1 9 6年 5

1 9 6年 8

生於中國安徽。

移居台灣台南；出身書畫世家，自幼耳濡

目染，水墨創作起步早、畫風成熟。

復興崗政戰學校美術系畢業。

加入了劉國松等人所倡導的﹁中國水墨畫

學會﹂。

李重重，父親李金玉先生為知名水墨畫家，以傳統北派青綠

山水見長。成長於書香世家的李重重自小耳濡目染，對水墨

創作一直有著濃厚的興趣，卻發展出與父親截然不同的奔放

風格。復興崗政戰學校美術系期間，西方油畫的訓練令她更

大膽地創新突破，培養了不拘泥於傳統水墨的宏觀視野。畢

業後她加入了劉國松等人所倡導的﹁中國水墨畫學會﹂，

創造了具現代人情感與時代精神的水墨。大器的佈局配上拓

墨、自動技法的運用，使她的作品在蒼勁顯得流轉靈動；明

亮的色彩在墨色中跳躍穿梭，同時又有她所言﹁大象重重跺

腳時那樣的震動﹂。獨特的風格讓李重重在台灣抽象水墨界

1 9 7年 0 起於美國、歐洲各地、中國、日本、韓國展出。

佔有一席之地，並且散發著剛柔並濟的魅力。

作品自

作品曾獲國立台灣歷史博物館、台北市立美術館、高雄市立

美術館、國立台灣美術館，美國馬利蘭州亞洲藝術中心、日

本福岡美術館、中國青島美術館典藏與國內外私人收藏。

Lee’s father Lee Chin-Yu was a well-known ink painter who received a traditional North School landscape painting education. At an early age, she had a keen interest in ink painting, yet developed a bold and unrestrained style distinct from her father’s traditional way. Having acquired the creative conscious and cultivation of the literati tradition and having received Western modern painting training in the Department

Since 1970, her works have been exhibited in the US, various countries in Europe, China, Japan, and Korea. Her works have also been included in collections at the National Museum of History, Taipei Fine Arts Museum, the Kaohsiung Museum of Fine Arts, the National Taiwan Museum of Fine Arts, Asia Art Center in Maryland, Fukuoka Art Museum, Qingdao Art Museum, including domestic and international private collections.

李重重

Lee Chung-Chung (1942-) was born in Anhui, China. In 1945, she settled in Tainan, Taiwan. She was born into a painter’s family, influenced at an early age had an early start in ink creation, and now possess a mature art style. In 1965, she graduated from the Department of Fine Arts at Fu Hsing Kang College. In 1968, she joined Chinese Ink Painting Study Association founded by Liu Kuo-Sung.

of Fine Arts at Fu Hsing Kang College, the artist strived to discard doctrines and to build an individual path as a form of self-declaration. After graduation, Lee joined the Chinese Ink Painting Study Association initiated by Liu Kuo-Sung and others where she worked on water-ink art permeated with modernity and zeitgeist. She applied the growth and expansion of ink as well as automatism to create a seemingly vigorous circulation in her works. Bright colors, according to the artist, are meant to feature same vibration as “an elephant stomping its feet.” Lee’s unique style, dominated by the charm of firmness and flexibility, has let her establish a solid position in Taiwanese abstract ink painting.

化蝶

Butterfly 水墨設色、紙本

Ink and color on paper × 90.4cm 59 2014

Lee Chung-Chung

李重重

伊斯坦堡印象之四水墨、紙本

Ink on paper × 69.7cm 72 2016

Istanbul Impression 4

伊斯坦堡風情之四水墨設色、紙本

Ink and color on paper × 69cm 68 2016

Atmosphere of Istanbul 4

Lee Chung-Chung

李重重

零度空間

Null Space

水墨設色、紙本

Ink and color on paper × 94.5cm 107 2013

隨風的歌

The Wind's Song

水墨設色、紙本

Ink and color on paper × 69cm 99.2 2015

Lee Chung-Chung

李重重

玉山風華

Elegance of Yushan

水墨設色、紙本

Ink and color on paper × 186cm 95.2 2014

Liang Gallery

尊彩藝術中心

Liang Gallery

尊彩藝術中心創立於

2年 4 歷史。余彥良先生目前並兼

1 9 9年 3 ，由負責人余彥良先生和陳菁

螢女士共同創立，至今有任﹁陳澄波文化基金會董事﹂一職，陳菁螢女士目前兼任﹁第二屆大內藝術區會長﹂一職。尊彩藝術中心獨棟展覽館位於台北市內湖科學園區，展覽空

2 0 0平 0 方米，每個月均策劃各項藝術

展覽。自創立以來，致力於推廣台灣藝術的學術研究與展覽

間分為三個樓層共約推廣。

2世 0 紀初期，現代藝術史上代表性藝術

家、戰後抽象水墨藝術家、當代藝術家；著重藝術史的時代

畫廊主力推廣台灣意義與視覺藝術的社會性觀點。創立初期，專注推廣台灣前輩藝術家陳澄波、廖繼春、楊三郎、陳植棋、李梅樹、金潤作、蒲添生、楊英風等；與藝術家家屬、藝術基金會共同合作，舉辦大型回顧展與學術研討會，建立成使社會大眾親近藝術的展覽空間，以此奠定私人

2年 4 豐富展覽事紀、經營信譽；見證台灣藝術產

藝術機構於台灣美術史之重要地位。畫廊歷經

業由初期至成熟階段。畫廊的經營項目發展至戰後的抽象水

墨藝術及當代藝術的國際化。以專屬代理及經紀的合作模式，長期為代理藝術家規劃學術記錄與展覽策劃執行。旗下代理的當代藝術家，著重台灣近代社會自由思潮及多元媒材運用成果；關注環境議題與人性探討。以視覺藝術參與、記

尊彩藝術中心

錄時下討論觀點。

2世 1 紀，全球藝術博覽會興起，促使東西方藝術的交流，

形成一個豐富視野的藝術村。尊彩藝術中心多年帶領藝術家

參與國際性藝術博覽會與雙年展，推廣台灣藝術於國際藝術

盛會，促使代理藝術家，作品廣為美術館、私人企業所典藏。

尊彩藝術中心不只經營台灣藝術，更以亞洲藝術史的觀點，

探討台灣藝術的文化特色，集專業與熱忱策劃展覽，期許台

灣當代藝術成為全球注目的亞洲文化特色。

歷年參展

香港巴塞爾藝術展

倫敦藝術博覽會

藝術北京博覽會

維也納當代藝術博覽會

藝術登陸新加坡博覽會

台北國際藝術博覽會

上海當代藝術展

LIANG G ALLERY

large-scale retrospective exhibitions and scholarly discussion

Yu Yen-Liang and Claudia Chen. Yu Yen-Liang currently is

forums, thus hoping for private galleries to establish a strong

Member of the Board of Directors of Chen Cheng-po Cultural

position in the history of Taiwanese art.

Liang Gallery

The 24-year-old Liang Gallery was founded in 1993 by Director

Foundation, and Claudia Chen currently is President of Taipei Art District.

In the past 24 years, Liang Gallery has witnessed the initial and maturity stages of Taiwanese art industry. As a result, it has

Located in Neihu Technology Park in Taipei and based in

accumulated a rich experience in curating art exhibitions and

a three-story building of 2000 square meters, Liang Gallery

acquired a good reputation. The further focus of the gallery

organizes exhibitions of different themes every month. Since its

is on post-war abstract ink art and the internationalization of

founding, the main aim of the gallery has been the promotion of

contemporary art. Working with its solely represented and

academic research and exhibitions of Taiwanese art.

exhibited artists, Liang Gallery publishes scholarly writings and organizes curated exhibitions of their artworks. Gallery

The gallery promotes Taiwanese artists of the early 20th century,

represented artists’ works mainly emphasize the freedom of

major modern artists, post-war abstract ink-wash artists, and

thought through the use of various media. Environmental and

contemporary artists, thus focusing on the significance of the

humanity concerns also reflect in their creation. By means of

era of art and the social aspects of visual art.

visual art, they document various aspects of current discussions.

Since its founding, Liang Gallery has been working with the

The rise of international art fairs in the 21st century has

foundations and families of pioneering painters in Taiwan, such

increased exchange opportunities between the east and west

as Chen Cheng-po, Yang San-Lang, Chen Chih-Chi, Li Mei-

thus turning the world into a global art village. For many years,

Shu, Chin Jun-Tso, Pu Tien-Sheng, and Yang Yu-Yu, to organize

Liang Gallery has been exhibiting artists’ works at international

尊彩藝術中心

art fairs, biennials, and promoting Taiwanese art at international art festivals. A great number of artworks by the gallery represented artists have been included into major art museum and private collections. Besides a great focus on Taiwanese art, Liang Gallery is also engaged in the exploration of the cultural characteristics of Taiwan looking through the lens of the Asian art history in a hope for Taiwanese contemporary art to receive global attention. Recently attended art fairs Art Basel Hong Kong Art16 London Art Beijing ViennaContemporary Art Stage Singapore Art Taipei SH Contemporary

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Transcendence and Symbol: Art and Neoplasticism in Post-war Taiwan Pai Shih-Ming Professor, Department of Fine Arts, National Taiwan Normal University

American abstract painting had a profound impact upon the

The artists, Chao Chung-Hsiang (1910-1991), Chu Ko (1931-

modern art movement that reached its height in the 1960s. The

2011), Lee Chung-Chung (b. 1942), whose works are on

movement continued to explore the shape and geometry by

display in this exhibition, represent three different generations

deconstructing images. It was the most important step in the

of the development of abstract art in post-war Taiwan. Despite

modernization of fine arts in the post-war Taiwan that resulted

very different backgrounds, their creative motivations and

in the appearance of avant-garde and other experimental art

artistic achievements were the same.

forms. In terms of painting style, pre-war Fauvism gave up its positions Abstraction had a huge influence not only on oil painting, but

to expressionism, surrealism, geometric abstractionism,

also on ink painting, printmaking, ceramics, sculpture, and even

absolutism, minimalism, neoplasticism, structuralism, and other

architecture. Neoplastic art became the mainstream of modern

-isms. The use of mediums has also expanded to semi-automatic

art in Taiwan and prevailed in the art scene until the 1980s. It

techniques, collage, rubbing, and mixed media. These artists

supported the expansion of mediums, techniques and ideas, and

jointly constructed diverse appearances of neoplastic art in post-

also benefited the integration into international community.

war Taiwan.

Eliminating an image and exploring the shape, materials, structure and other independent aesthetic values was the most important goal of abstract art. Simultaneously it struggled with critical views from academics, traditionalists and officials. In modern abstract art the form replaced the content, the thoughts and ideas exceeded the descriptions; absolute and unrestrained, independent and unisolated, tangible yet intangible, physical and mental became the main qualities.

Transcendence and Symbol: Art and Neoplasticism in Post-war Taiwan

超驗與象徵台灣戰後美術與新造形主義

興起於

1 9 6年 0 代的現代繪畫運動，受到西方抽象繪畫之影

響，藝術家透過解構形象、追求造形以及對幾何特質的持續探索，建立深具前衛及實驗精神的藝術形式，為台灣戰後美術的現代化跨出最重要的一步。

雕塑或建築等，亦產生不同程度的回應。隨著媒材、技法及

抽象觀念影響甚鉅，非僅及於油畫，如水墨、版畫、陶瓷、觀念的不斷擴充，迄於

1 9 8年 0 代，此種新興藝術已成為台

灣現代藝壇主流，以及最足與國際社會接軌的代表。

去除形象，探索造形、材質、構成等的獨立美學價值與超越感官的精神性，已成為抽象藝術最重要的目標。

對而自由、自主而不孤立，

同時，象徵其對學院、傳統、官方勢力批判的奮鬥結果。形式取代內容、意念超越敘述，

有無相容、體神並通，現代抽象藝術看似虛無卻雄辯難遏的特質，來自於知識階層的批判立場與跳脫身體、意識框架的內心需求。

超驗與象徵

台灣戰後美術與新造形主義 —

國立台灣師範大學美術學系教授

白適銘

1 9 1 0 - 1 9 9︶ 1 、楚戈︵

1931-

1 9 4 2︶- ，分別代表台灣戰後抽象水墨藝

本次展出藝術家 − 趙春翔︵

2 0 1︶ 1 、李重重︵

術發展的不同世代，其背景迥異，創作動機及藝術成就卻殊途同歸。

抽象、極簡主義、新造形主義、結構主義等領域；在材料方

在風格上，從戰前的野獸派轉化至表現主義、超現實、幾何

法上亦擴充至半自動技法、拼貼、印拓、複合媒材等，跨越

民國以來國畫改革的意識形態之爭，進而建構出一部跨越現

當代時空界線的微縮歷史，反映戰後現代美術新造形觀念的多元面貌。

The Seal of an Era: Contemplating Changes in Chinese Abstract Ink-wash Painting Chuang Wei-Tzu Editor in Chief, Artist Magazine

Throughout the history of Chinese art, the practice of ink-wash

Shan who promoted the artistic ideas derived from painting

painting has always been a changing idea. A more conspicuous

from life, but Liu Kuo-Sung who introduced the concepts and

transition has been noticed since the trend of Chinese modern

techniques of abstract painting.2 These critiques and opinions

painting in the 20th Century with examples found in artworks

on traditional paintings stimulated a new approach beyond the

by Taiwanese artists who were involved with modern painting

narrative of traditional ink-wash art among the next generation

movement. If we look into Taiwan’s modern painting movement

of artists, while a new ink-wash spirit born from the new era was

during the 1950s, we can connect it with the historical context.

visualized in various artistic practices.

It was a time when a great amount of intellectuals and artists came to Taiwan with the Chinese Nationalist Government (the

Within such a context, we can argue that the modernization of

KMT Government), and, out of spontaneity, they began to

ink-wash painting is to challenge the traditional and to establish

search for an artistic breakthrough. The cultural transformation

the new, while it eventually, as expected, adopts abstract

was not only based on the ideals promoted by the May Fourth

expressions in its practice. If we want to further explore how the

Movement but also the ready-to-change zeitgeist spreading to

Western modernist painting and the modernization of ink-wash

the post-war Taiwan, soon resulting in the modernization of ink-

painting have influenced ink-wash practice, there will not be a

wash painting. Additionally, the global vision and art trends

better example than the artworks by Chao Chung-Hsiang, Chu

taking place in the Western art scenes were introduced by artists

Ko, and Lee Chung-Chung.

such as Liu Kuo-Sung and Hsiao Chin, and they further facilitated the reform of ink-wash painting. Encouraged by Fifth

Born in Henan, China in 1910, Chao Chung-Hsiang moved

Moon Group and Ton Fan Group, the artistic exploration of

to Taipei in 1948. Later, he went to Madrid, Spain in 1955

“tradition vs. reform” and “East vs. West” reached the summit at

and New York, the USA in 1958. The most significant chapter

that time. 1 Because of the dual influence from both the

of his artistic career was his days in New York, where he was

contemporary art trend and its social context, the traditional

introduced with the art of the famous abstract expressionist

ink-wash painting could no longer limit itself to the

Yves Klein. With a direct influence – probably the greatest

conventional expression. The modernization of ink-wash

throughout his career – from the Western abstract painting,

painting was thus the unavoidable consequence.

Chao integrated the Western and the Eastern painting styles in his artistic concepts as well as the use of media, revealing a

The history of Fifth Moon Group and Ton Fan Group had

unique harmony between the two cultures.

played a major role in the modernization of ink-wash painting. According to the two art groups’ backgrounds and mission

His early works feature a broad and liberated simplicity – an

statements, it was for sure that in spite of the attempt to

influence from his teachers at Hangzhou Arts School such as

challenge the existing tradition and to establish something new,

Lin Feng-Mian and Pan Tian-Shou. His ink-wash paintings,

they still pretty much artistically defended the Western and

mostly freehand (xieyi), implicitly disclose the artist’s attempt

Eastern values. Meanwhile, although the two groups had

to harmonize the Western and the Chinese with the belief of

different emphases in their developments – one was more about

“spirit before appearance.” He has once mentioned that “modern

the Western and the other was about the Eastern –, both the

painting should find no satisfaction on truthful representation

group members and the artists they had later influenced

and realistic coloring; instead, besides the intact structure of

inherited the innovative and adventurous practice that made

shapes, forms, and colors, it should focus on the feelings lurking

these people’s outstanding artistic achievements possible. The

beneath and the aura of the image when viewing it…” His words

challenge of ink-wash painting not merely came from Lin Yu-

show how he has integrated the spirit of the traditional Chinese

The Seal of an Era: Contemplating Changes in Chinese Abstract Ink-wash Painting

一個時代的印記思變中的中國抽象水墨世紀

水墨畫的創作觀念在中國美術史上幾度轉折，進入

2世 0 紀、

隨著現代繪畫運動的開展，則又有更為明顯的蛻變，並可見於幾位在台灣參與現代繪畫運動的藝術家。若深入理解台

一個時代的印記 │思變中的中國抽象水墨世紀

莊偉慈︽藝術家︾雜誌總編輯

不同，但無論是畫會成員或是其後受影響的藝術家們，都因

承襲了求新求變的藝術理念，而在創作上獲得極高的成就。

除此之外，當時對於水墨創作的反省，除了有林玉山提出以

。這些對於傳統繪畫的批判以及新的觀

寫生為出發點的創作觀，另有劉國松提出從抽象繪畫觀念與技法切入的意見

1 9 1年 0 出生於中國河南，

最清楚地展現。趙春翔於

1 9 5年 8 先後前往西班牙馬德里與美國紐約。究其藝

抽象繪畫的影響下，趙春翔的作品因此融合東方與西方的畫

他在紐約認識了抽象表現主義大師克萊因，在直接受到西方

術生涯，不難想見他在美國時期所受到的影響最深，特別是

1 9 5、 5

1 9 4年 8 遷居台北，後於

影響，那麼從趙春翔、楚戈與李重重三人的作品中無疑有著

探索歐美現代繪畫思潮、水墨現代畫運動對於水墨畫創作的

創新、不因襲傳統的思惟，自然地走向抽象化的表現。若要

在此背景下，我們可以說水墨繪畫的現代化，等同於在追求

的創作形式中落實新時代的水墨精神。

點，都促成後繼創作者脫離傳統水墨脈絡的思考，而在不同

灣

1 9 5年 0 代左右的現代繪畫運動，我們會發現，運動發生

背後的原因與國民政府遷台，許多文人、藝術家隨之相繼渡

海，並自發性地追尋創作上的變革不無關係。這些思想上的轉變，一方面帶有五四運動的理想性，一方面也因時代背景的關係，使得變革的精神接續延伸到戰後的台灣，繼而帶起水墨繪畫的現代化運動。除此之外，隨著劉國松、蕭勤等人的引介，歐美畫壇所傳入的國際視野與美學思潮，也對水墨畫革新有不少影響。在五月畫會與東方畫會兩個團體促成之在藝術思潮及時代背景的雙重影響下，傳統水墨畫創

下，藝壇中關於﹁傳統與創新、東方與西方﹂的思考達到高峰。

堅持西方與東方精神。另外，兩者一中一西，雖然發展路徑

解到，兩個團體在藝術觀念上均趨向革新不守舊，但仍分別

遠的關係，從這兩個團體的背景和運動核心理念，我們可理

水墨畫現代化運動與五月畫會、東方畫會的運動脈絡有著深

作自此再也無法墨守成規，水墨畫的現代化運動因應而生。

ink-wash art into his abstract ink-wash painting.

days in school. After graduation, she joined Chinese Painting Study Society, an art group led by Liu Kuo-Sung and other

Chu Ko, born in 1931, had worked in the National Palace

artists, where she extended her basic training in painting into a

Museum in the beginning of his career, where he studied ancient

more adventurous experiment on ink-wash art. Her ink-wash

artifacts, literature, painting, and art theories. The versatile

painting accentuates the various qualities of inking. Her soft and

experiences were metamorphosed into an unparalleled and

elegant ink-rubbing skill and brushworks sparkle the encounter

groundbreaking achievement in his artistic practice. He became

between the shades of ink and the dazzling colors, and a rich

an artist when he turned fifty, and every stage of his artistic

sense of space is thus rendered in her painting.

career featured a unique adventure in techniques and concepts. One of the most distinguished signatures of his artmaking is

The dedication of the three artists presents us how ink-wash

how he uses “lines” as a means of his creation. In his paintings,

painting has progressed with the passing of time. Apart from

he not only transforms the meanings and calligraphic lines of

the rich legacy of the ink-wash tradition, the artists integrate

the written texts into images, but also develops the “one-strand

multiple aspects such as social contexts, art movements, and

painting” (yixian hua) while the brush’s movement derived

theory studies to develop their art. In the ink-wash art of Chao

from a flat-brush technique embodies the art of knotting as well

Chung-Hsiang, Chu Ko, and Lee Chung-Chung, the abstract

as the ancient Chinese philosophy that “ending is the

elements demonstrate how they work on a fulfillment of spirit

beginning.” 3

and evocation through brush and ink – sometimes it is a life realization, sometimes a painting structure responsive to their

Although Chu Ko’s line painting (xian hua) is reminiscent of

artistic belief, sometimes as simple as to establish the artists’

Paul Klee’s art of lines, it is more a result of Chu Ko’s research

subjectivity highlighted with ink-wash. No matter what, the

on ancient art as well as his ideas combining grammatology,

artworks of the three artists are the perfect proof showing us

art history, and religion history. What his painting embodies is

how the artists use their brush and ink to manage the image on

the Eastern or Chinese lines – curve lines. Chu has mentioned

paper, to project their souls to nature, and to visualize the true

in an article that Chinese painting is “the art of curve lines.”

essence of a lively spirit.

The paintings structured with lines symbolize the taichi cosmological philosophy, while his later works even feature the expression of multiple lines, through which Chu creates lines of different shades and colors and have them cross and move around the image as if he was composing a classical polyphonic music. Meanwhile, his studies of structure have brought his later works to the abstract realm. However, the aesthetic concept hidden beneath the appearance still echoes the complementary,

1. Wang Sufong (1990). “Awareness Awakening – How Fifth Moon Group and Ton Fan Group Influenced the Modern Art Development in Taiwan,” ed. Lee Chih-Ming, Essays on the Development of Modern Chinese Painting. Taipei: Taipei Fine Arts Museum.

interconnected, and interdependent yin-yang philosophy believed by the ancient Chinese. In his abstract shapes, we can always discover the rich Chinese aesthetic signs and symbols. Lee Chung-Chung was born in 1942. With artistic influence from her father, the blue-and-green landscape painter Lee Chin-Yu, she received a solid training in oil painting during her

2. Liu Yi-Chang, Kao Yeh-Rong, Fu ChaoChing, and Hsiao Chong-Ray (2009). A History of Fine Arts in Taiwan. Taipei: Artist Publishing Co., p. 393.

3. Hsiao Chong-Ray (2014). Xiantiao, Xingzou, and Chu Ko. Taichung: National Taiwan Museum of Fine Arts, p. 126.

The Seal of an Era: Contemplating Changes in Chinese Abstract Ink-wash Painting

一個時代的印記 │思變中的中國抽象水墨世紀

畫的技法，運筆於紙上行走的形式，亦能體現出結繩美學與

中國傳統思想中﹁起於一、終於一﹂的哲學思想。

1 9 4年 2 出生，她的藝術創作除明顯受到父親、同

畫訓練，也給了李重重非常紮實的繪畫基礎。畢業之後，李

時也是青綠山水畫家李金玉的影響，於學校期間所受到的油

李重重於

符號與象徵。

合的哲學契合，在抽象的造形中，仍可讀出濃厚的中國美學

抽象，但其背後的思想內涵，仍與中國上古陰陽乾坤相生相

的複音效果。而在結構上的追求，也使得他後期的作品漸趨

條，讓這些線條在畫面上游走交錯，營造出如古典樂中重奏

了﹁複線﹂的表現，楚戈始用墨色濃淡不同或顏色不同的線

所創作的繪畫，不僅蘊含太極乾坤的哲學思想，後期更走向

曲線，楚戈於其文的，完全是屬於東方的、中國的線條 —— 章中就曾提到，中國繪畫是﹁曲線的藝術﹂。而其運用線條

文字學、美術史與宗教史的理念。在楚戈的作品中所體現

用，但更多是來自於楚戈於上古美術中所挖掘出來，融合了

楚戈的線畫會讓人很快地聯想到保羅．克利在線條上的運

風，無論是在媒材的嘗試或是繪畫觀念上的突破，都充分地展現出中西合璧的特色。趙春翔早年的創作，即因受到杭州藝專老師如林風眠、潘天壽的影響，而在其筆墨中可見得簡約而畫意開闊的特質，水墨畫已可約略看出融合中西意境。趙春翔的畫作以寫意為主，追求﹁不以形似，但求神似﹂的意境，他曾說：﹁現代畫作不僅以應物寫形，隨類附彩為滿足，在形體色彩結構完整之外，最主重的是潛在的深層感覺化，與讀的畫面境界……﹂就可從中看到他的抽象水墨繪畫，結合了來自於中國水墨傳統的精神。

1 9 3年 1 出生的楚戈，早年曾在國立故宮博物院工作，因同

時鑽研古器物、文學、繪畫創作以及藝術理論，因此也造就

5歲 0 創作之始，他於技法與觀念上的嘗試即可見於

他在藝術創作上能擺脫傳統束縛而獨樹一格的不凡成就。自楚戈於

各個時期。以藝術創作的特色來看，楚戈最為人所知的就是

以線條為基礎的繪畫。在這些作品中，既結合文字以文字意涵或造形入畫的特質，同時﹁一線畫﹂更發展出利用排筆繪

重重加入藝術家劉國松等倡導的﹁中國水墨畫學會﹂，在既有的繪畫訓練與基礎上，進行更進一步的水墨創作實驗。李重重的水墨畫，著重於展現墨韻的不同調性，她輕盈的拓墨和運筆，讓繪畫在墨色的濃淡中與繽紛的色彩產生撞擊出火花，並且渲染推演出豐富的空間感。在這三位藝術家中，我們可以看到水墨畫是如何隨著時代演進，在繼承豐厚的水墨藝術傳統的精神之餘，藝術家們結合對時代背景、藝術脈絡與理論思索等不同角度，各自在創作上有更進一步的發展。在趙春翔、楚戈與李重重帶著抽象語彙的水墨創作裡，他們通過筆墨作為媒介，尋求精神與意境有時候是對生活的感悟，又或藉由繪畫的結構呼的展現 —— 應其所堅持的理論思想，甚至單純地以水墨突顯藝術家的主體性。無論如何，在三人的作品中，我們可以看到藝術家是生動的真意。

如何用筆用墨，在紙上細心經營，映心靈於萬物，體現氣韻

月 6 。︵台北市：台北市立美術館︶

， 2009 年 393

國立台灣美術館︶

。︵台中市： 126

月 3 。︵台北市：藝術家出版社︶

蕭瓊瑞，︽線條．行走．楚戈︾，頁

頁

劉益昌、高業榮、傅朝卿、蕭瓊瑞，︽台灣美術史綱︾，

年 1990

王素峰，︿生之自覺 —— ﹁五月﹂、﹁東方﹂與台灣現代美術發展的關係﹀，︽中國現代繪畫發展素描︾，

The Seal of an Era: Contemplating Changes in Chinese Abstract Ink-wash Painting

Istanbul Impression 2

LEE Chung-Chung

一個時代的印記 │思變中的中國抽象水墨世紀

李重重

伊斯坦堡印象之二水墨、紙本

Ink on paper × 65cm 69.5 2016

美術設計

攝影

印刷

修天容

劉銘維

劉光智

日動藝術印刷有限公司

月 3 初版

策劃編輯

尊彩國際藝術有限公司

年 2017

出版者

陳菁螢

出版

總經理

余彥良

in Chinese Abstract Painting

發行人

Contemplating Changes

Executive Director

Yu Yen-Liang

Director

Claudia Chen

Publisher

Liang Gallery Co., Ltd.

Editor

Daisy Shiou

Designer

Liu Ming-Wei

Photographer

KC Liu

Printing

Jih-Tung Art Printing Co., Ltd.

Publishing Date

First Edition, March, 2017

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