Poetic Universe
李重重 Lee Chung-Chung
Contents
Preface by
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YU Yen-Liang
(President of Liang Gallery)
Lee Chung-Chung: Preserver of Taiwan’s Modernism by
Aida Yuen WONG (Nathan Cummings and Robert B. and Beatrice Mayer
Chair in Fine Arts, Brandeis University)
A Poetic Universe – On the Contemporariness and Abstraction in Lee Chung-Chung’s Chinese Ink Paintings by
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WU Chao-Jen
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(Assistant Professor, Department of Fine Arts, Tunghai University)
statement
26
Artworks
29
Biography
119
Catalog
131
詩意的宇宙
Poetic Universe
目
序 文
錄
李重重 文
錄
歷
品
述
余彥良
吳超然
尊 ( 彩藝術中心 董事長
)
美 ( 國布蘭戴斯大學 美術系系主任
東 ( 海大學 美術系助理教授
)
試論李重重水墨裡的現代與抽象 —
阮 圓
台灣現代主義的守護者 ─
詩意的宇宙 文
自
作
簡
圖
)
5 7 17 27 29 119 131
Preface
Lee Chung-Chung always tells thought-provoking stories on paper, forming a window on the paper from which I keep looking out and which is like a window of the mind. Through her wisdom, the ink colors are skillfully arranged, making the picture easy to read. This is my immediate impression of Lee. Lee’s strength is in her use of colors. Her ink blooming provides a breath of fresh air. In addition to the beauty that is free and at ease, her works are also sometimes surprising and delightful, full of literary thoughts that provide me with profound reading feasts. Lee's works are like a clear creek, flowing into the heart and delivering the temperature of happiness, curing our hearts, helping us find our more beautiful selves and an even more beautiful future in life. In this long journey in life, images keep producing rhythms that strike an emotional chord, echoing deep in your soul. It turns out that owning Lee’s work makes one much happier. A lot of unhappiness gradually disappears. Sometimes, the vivid colors she employs bring much beauty and numerous blessings, all joyful like a poem. Precisely because I spent part of my childhood in the countryside, I can especially appreciate the pure natural environment Lee depicts with light, splashing touches, feeling the thick colors invade me and make me revel in them. The pictures she portrays are sometimes quiet and beautiful, and sometimes magnificent. Every grass and flower she paints seems contented, effortless, and sincere, easily surrounding me, making me calm. Every work is like a short poem, elegant and intriguing. I truly love Lee’s works, and they have become my deepest longings.
YU YEN-LIANG President of Liang Gallery
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序 李重重總是在紙上說著耐人尋味的故事，在紙上形成一扇窗，讓我不斷地眺望，也很像是一扇心靈的窗， 墨色巧妙地在她智慧中運行，畫面變成很容易閱讀，這是我對李重重的即刻印象。
顏色是她的強項，墨染讓你不打開窗門，也能順暢的呼吸，除了逍遙自在形式的美，有時又驚喜交集，充 滿了文學思考，讓我擁有更深刻的閱讀饗宴。李重重的作品，宛如一彎清溪，涓滴流入心中，傳遞幸福的 溫度，療癒著你我的心田，讓我們發現更美的自己，也發覺人生有更美好的未來。
在這人生漫長的旅途上，畫面不斷產生旋律敲動著心弦，一直就在你靈魂深處迴繞激盪。 原來，擁有李重重的作品，歡喜就多了，很多不快樂會漸漸消失，有時繽紛色彩帶來眾多美麗與祝福，悠 活得像首詩。正因我的童年曾在鄉村中度過，也更能領略因環境自然純樸，受到李重重輕盈潑色的手法入 畫，感受著更濃郁的色彩侵襲，這樣的畫面令我十分陶醉。
畫面裡時而風景清幽，時而壯闊雄偉，一株草一朵花，都是怡然自得、信手捻來，真情誠意、不斷地輕鬆
董 事 長
自在圍繞在我的四周，讓人氣定神閒。每一幅作品都像一首短詩那樣的優美、雋永，我真心喜歡，也成為 我更深的想望。
余 彥 良 尊 彩 藝 術 中 心
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曠野的呼喚（局部） A Rusty Call (detail) P.47
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李重重─台灣現代主義的守護者
美國布蘭戴斯大學 美術系系主任
阮圓
文
台灣現代主義的守護者
李重重
21 世紀以來，我們為抽象藝術賦予的價值，似乎已明顯脫離了如 康丁斯基（Wassily Kandinsky, 1866-1944）與馬列維奇（Kazimir
Malevich, 1878-1935）所闡釋的極端現代主義對於「純粹」的追 尋。這些西方藝術先驅者試圖昇華繪畫的地位，主張藝術家的絕 對自主權。有些人或許會質疑，所謂「純粹」終究不可及，只成 了某種論證，甚至與社會政治交涉共同作用。從圖像時代的結束 到黑方塊出場，抽象藝術發展至最極致時，加入了無政府主義與 反菁英主義兩列戰友。在此同時，抽象主義批評者也質疑了男女 創作者的懸殊比例，20 世紀中期美國第二波抽象主義自是一明顯 例子。英雄式的行動與巨大格局不但象徵著男性身體，更反過來 暗示戰後美國以大國姿態崛起。時至今日，該是時候讓抽象主義 （特別是和亞洲書法藝術有著密切關聯、反映著西方在 5、60 年 代癡迷於「禪」或「和風」等神祕「東方」概念的「姿態抽象」） 一肩扛起自身成敗了。為何一位來自台灣的女性藝術家，在今日 依然堅守著抽象藝術之途？生於 1942 年的李重重，面對身旁諸 多已有名望的同行藝術家，紛紛在海外尋找更肥沃的創作土壤之 際，她卻堅持投身抽象繪畫，自 1960 年代至今從未停下腳步。 在當時，不論是戰後國民政府時期在台灣成為主流的傳統國畫， 或是 1970 年代出現的鄉土藝術運動，即將式微的美國現代主義 對這兩者似乎都起不了多大作用。抽象繪畫成了此體系的局外人 ──直到近期在電腦科技與遺傳學影響下產生了新的視覺表現， 讓抽象藝術再度復甦。李重重的抽象藝術與高科技體驗無關，然 而她卻表現出某種冷調清新，既不過於傷感也不煽情。
2016 年四月某日清晨，我在師範大學白適銘教授陪同下，來到李 重重工作室進行訪談。她的工作室其實也是她的住家。我們從一 個小陽台走進她簡樸的客廳，典型台北風格。雖然室內沒什麼裝 飾，依然隱約透露了藝術家對於桃紅、雌黃、螢光綠與水藍色的 偏好。 我們從她少女時期開始聊起，翻閱著她父親李金玉的畫冊 集。李父 1947 年與家人來到台灣後就在台鹽的七股鹽場工作， 閒暇時間以繪畫為樂。他是畫國畫的，自然而然也影響了李重重 一生對於水墨、筆墨的熱愛與執著。父女兩人曾於 1966 年舉辦 聯展，當時剛畢業於政工幹部學校復興崗校區美術科（今國防大
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學政治作戰學院）的李重重就已展現和父親截然不同的繪畫風格。 兩年後，她加入了劉國松所倡導的「中國水墨畫學會」。「中國 水墨畫學會」致力將抽象藝術等現代主義理念與中國美學結合， 運用極簡形式、顏料潑灑表現古典山水的詩情畫意，更以實驗手 法挑戰圖像表現的極限，在客觀具象的世界探索其與非具象的邊 界。所謂「半抽象」這讓人有點困惑的一詞，就時常用來形容台 灣藝術發展的這條路線。在西方語彙中，「抽象」單純意味著簡 約精煉的過程，同時也不抗拒那些高度風格化但依然可辨識的主 題。若在單純抽象藝術與半抽象之間真有一條界線，那麼李重重 正是在這兩個世界中悠然遊走，如她作品標題《如夢似幻》、《靜
的花鳥流水固然令人心怡，然而其大異其趣的空間調度、色彩調 配與繁複層次，同樣讓人讚嘆不已。作品如《遊走乾坤》、《似 真圖景》、《台北的天空》、《海的呼吸》讓我們看見了一個揉 雜著靈性與感官、帶著印象主義又充滿個人韻味的內在宇宙，錯 綜複雜且無比細膩。然而這些主題既無可觸及的實體，也非字義 上的地誌表現。 李重重創作與 1960 年代台灣抽象藝術發展之另一關聯，在於其 打破傳統的繪畫技巧運用──如劉國松所謂「革毛筆的命」。李 重重往往先在畫紙一處以墨色繪畫，接著將畫紙折起按壓，讓未 乾之墨色沾染至畫紙另一處【圖 I】。這樣的手法為畫面帶來對 稱構圖，也留下對稱軸的痕跡。在台灣，這種非繪畫性的壓印技 法叫做「拓印」，實包含好幾種不同的壓拓方式。其瞬時連續性 與身體動作，帶出某種與傑克遜．波洛克（Jackson Pollock, 1912-
1956）滴畫、潑畫截然不同的「表演性」，像是更安靜、更從容 的姿態抽象。李重重也不像波洛克那般用整個身體揮灑作畫。她 的圖像輪廓侷限於個人主題，無論是綻放雌蕊的盛開花朵、海岸 天際線或一座小樹林， 然而究竟要如何「輪廓」，卻是藝術家當 下的本能決定。她的作品因而充滿著無限的可能性，這也是其畫 作風格如此鮮明獨特的原因。
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李重重示範拓印技法
靜的島嶼》、《沈醉在這無風的午後》所言。這次展覽，畫作中
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李重重─台灣現代主義的守護者
李 重 重 的 畫 作 差 不 多 是 一 張 標 準 寫 字 桌 大 小，69×69 公 分 與
123×123 公分是她最喜愛的尺寸，不過她也開始嘗試把幾張長條 紙張接在一起，創作如中國傳統聯屏般的大尺寸場景。工作室裡 面一間小房間，擺著一組組她作畫用的傳統畫筆，以黑色刷痕凸 顯其獨特構圖風格的排筆也在其中，有時蘸了深墨汁還能在畫作 上方又加上一抹層次【圖 II】。不過在近期作品中，李重重往往 以壓克力顏料來表現飽滿黑色調，這也要較透明的中式墨色更能 帶出明亮色彩與負空間間的強烈對比。以更寬廣的角度重新理解 「水墨」，是台灣當代繪畫一大發展，而台灣當代「水墨」藝術家 也勇於嘗試不同方式、媒材所表現出各般「墨黑」姿態。 李重重示範排筆技法
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同樣吸引人的，還有李重重的「點」，特別是那些如釘子形狀的， 一端尖一端平。這類釘狀筆法或許可追溯至中國傳統繪畫，如 十九世紀上海畫家任伯年（1840–1895）作品中的清晰紋摺，不 過它似乎更讓我們聯想到書法的「提」。不像 20 世紀中美國與 日本現代主義畫家所摸索的書法韻味，李重重的「點」顯得更為 靈活調皮，充滿各種扭動姿態。此外，這些「點」總是群聚出現， 圍繞著圓狀形體游浮，也帶著某種性暗示。
李重重的構色、蒼勁筆鋒與墨色對比，近似於前輩大師趙春翔 （1910–1991）畫風。事實上趙春翔也是李重重所熟識且景仰的對 象，同趙無極（1921–2013）與朱德群（1920–2014）等人曾於中 國杭州美院追隨林風眠（1900–1991）習畫，1948 年來到台灣，
50 年代始任教於台灣省立師範學院（今國立台灣師範大學）與政 工幹部學校──不過在後者任教時並未與李重重就讀時期重疊。 趙春翔用色大膽，繼承了曾在歐洲習畫的林風眠，特別是其以野 獸派色彩風格現代化中國繪畫的企圖。1958 年移居紐約後，趙春 翔結識伊夫．克萊因（Yves Klein, 1928-1962）等知名抽象藝術家， 也在艾爾斯沃茲．凱利（Ellsworth Kelly, 1923-2015）生動鮮明的 「色彩光譜」系列作找到志同道合之趣。在趙春翔作品中，藝術家 以寫意手法重新詮釋充滿張力的色彩，以視覺語彙醞釀著來自儒 家、道家與佛家之真意。李重重的創作不像趙春翔那般富含哲思 深意，然兩人相似的遊子心境與學術淵源，似也隱約在作品間彼
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此呼應，一切留待觀者細細察覺。我們可以確信的是，一路走來， 李重重正如「台灣現代主義的守護者」，其作品也與諸多重量級 藝術家共同選入國立台灣美術館 2017 年度大展「記憶的交織與重 疊－後解嚴台灣水墨」。 自 80 年代，「色彩」在李重重作品構圖中越趨重要。無論是墨是 色，一旦在紙上被畫了痕跡就無法消除。李重重的顏料或看似相
信地揮灑，叫人看得賞心悅目。然而我們千萬別以為她的創作靈 感就像超現實自動繪畫技法般，自潛意識油然而生。她工作室裡 的素描本，內頁滿滿都是畫作的模擬打稿【圖 III】；從事時尚產
李重重速寫本
互疊合甚至彼此入侵，但絕非是為了掩蓋失誤。 她在紙上迅速自
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業的兒子帶回家的碎布，也被她拿來嘗試各種構圖【圖 IV】。布 料與紙張的質感截然不同，與畫布更為接近。波洛克、克萊因、 凱利等人皆是勤於繪畫草稿的創作者。打稿不但讓藝術家更能想 像最終完成的畫面，同時也讓我們看見創作上所遭遇的難關與創 作者精湛的才華。翻閱李重重的素描本，彷彿讓我們得以窺見藝 術家與自我的私密對話。
1990 年左右，李重重創作了一系列精采的裸女畫，不過沒多久她 便對這種「女＝體」的強烈暗示感到厭煩。這或許可說是藝術家 對於性別標籤有意識的反抗。在台灣創作裸體抽象畫的藝術家並 不多，李重重本可在此領域走得更長更遠（特別是在女性主義運 動的推波助瀾下），但她終究選擇停下腳步。無論如何，李重重
聲喧嘩的社會或政治理念，她或被動地抗拒，或讓位閃避。她的 創作如藝術家本人般泰然且淡定。在 2015 年尊彩藝術中心個展出 版畫冊中，她以此語為創作生涯寫下註解：「年過七十歲的歲月 將人生看得淡泊、自然。在繪畫創作中帶來平靜和喜悅，甘苦自 知，仍繼續走下去。」
圖版提供／阮圓
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李重重速寫
並不在自己創作之路上輕易動搖，面對席捲台灣的藝術潮流、眾
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Lee Chung-Chung: Preserver of Taiwan’s Modernism
Lee Chung-Chung: Preserver of Taiwan’s Modernism
by Aida Yuen WONG Nathan Cummings and Robert B. and Beatrice C. Mayer Chair in Fine Arts Brandeis University
In the 21st century, the value we invest in abstraction patently departs from the High Modernist rhetoric of purity as articulated by Kandinsky (18661944) and Malevich (1878-1935). These Western pioneers sought to give painting a transcendent status and the artist the ultimate claim to autonomy. One could argue, however, that purity has never been achieved, as it always functions dialogically or in concert with socio-political negotiations. From the “end of representation” to the black square, abstraction in its extreme form shared a platform with anarchism and anti-elitism. At the same time, critics of abstraction, especially regarding its second wave in mid-century America, have noticed how disproportionately male practitioners were. The heroic actions and monumental scales implied the masculine body, which in turn, symbolized the rising power of the U.S. in the post-war era. Today, abstraction, especially gestural abstraction with its proverbial association with Asian calligraphy that reflects Western fascination with “oriental” mysticism via Zen and Japan in the 1950s and 1960s, has to shoulder the burden of its own success. Why does a female artist in Taiwan persist on the path of abstraction today? Lee Chung-Chung (b. 1942), in fact, has not stopped producing abstract paintings since the 1960s, even during the times when many prominent compatriots left for friendlier pastures overseas. Both the traditionalist guohua which dominated post-war painting in Taiwan under the Nationalist Party and the Native-Land movement which emerged in the 1970s found little use for American-style modernism after its heyday. Abstract painting became an outlier in the system, until its recent revival that in part channels new visualities from such fields as computer technology and genetics. Lee Chung-Chung’s abstraction has nothing to do with hightech experiences, but it delivers a cool-headed freshness that is neither too emotional nor overtly nostalgic. One April morning in 2016, accompanied by Prof. Pai Shih-Ming of the National Taiwan Normal University, I set out to interview Lee ChungChung at her studio, which is also her home. The spartan living room is accessed through a front terrace very typical of Taipei. Little of the décor offered clues to her taste for hot pinks, orpiment yellows, neon green, and cerulean blues. We began our conversation by revisiting her young adulthood, leafing through a copy of painting album of Lee Chin-Yu, her father. After arriving in Taiwan with his family in 1947, he worked at the Taiwan Salt Corporation’s Cigu processing plant and also painted during his free time. He was a guohua practitioner who provided the influence for her life-long love for brush-and-ink or bimo. At their joint exhibition in 1966, the young Lee Chung-Chung who had just graduated from Art Department of the
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Political Warfare Cadres School (today’s Fu Hsing Kang College) already showed how distinctly different a painter she was from her father. Two years later she joined the Chinese Ink Painting Study Association spearheaded by Liu Kuo-Sung. The group’s mission was to adapt modernist ideals, especially abstraction, to Chinese sensibilities, for example, using simplified forms and splashes to conjure a classical landscape with poetic feelings. The experiments in those days included pushing images to the brink of non-representation, but not entirely breaking away from the objective world. The somewhat confusing term “semi-abstraction” (ban chouxiang) is often used to describe this effort in Taiwan. In Western parlance, abstraction simply means a process of reduction and distillation, and does not preclude highly stylized but still recognizable subjects. If we accept that there is indeed a distinction between plain abstraction and semi-abstraction, then Lee Chung-Chung clearly traverses the two states, and her painting titles suggest as much: Like a Dream, Tranquil Island, Indulging in This Windless Afternoon. In the current exhibition, we delight in discovering birds, flowers, and rushing streams, but find equally rewarding her hugely varied spatial arrangements, color combinations, and complex layering. Other titles such as A Walk Around Heaven and Earth, Like a Real Scenery, Taipei Sky, and The Breath of the Sea point to a complex internal universe where spiritual, impressionistic, personal, and sensorial elements commingle. These subjects are neither physically touchable nor topographical in the literal sense. Another connection to the abstract movement from 1960s Taiwan in Lee Chung-Chung’s art is the use of non-traditional painting techniques that Liu Kuo-Sung termed “rebellion against the brush” (ge maobi de ming). Lee Chung-Chung would stain one area of the paper with ink/color freshly painted on another area by simply folding the sheet over and pressing down (fig. I). This results in regions of symmetry and leaves traces of a dividing axis. The common term in Taiwan for this non-painterly mark-making is “imprint” (tuoyin), to which several other pressing and stamping techniques are also associated. There is a performative aspect to this procedure which relies on temporal sequence and bodily motion quite different from Jackson Pollock’s (1912-1956) dripping and pouring. Hers is a quieter and more contained kind of gestural abstraction. She also does not throw her whole body into the painting process like Pollock did. Figuration is confined to individual motifs, be it blooming flowers complete with pistils, a horizontal seashore, or a tree grove. Figuration and how much of it to include is a constant decision, one that comes instinctively to Lee Chung-Chung. The endless possibilities are what make each of her works unique. Still, her style remains instantly recognizable.
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I
Lee Chung-Chung Painting with tuoyin
Lee Chung-Chung: Preserver of Taiwan’s Modernism
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Lee Chung-Chung Painting with pai-brushes
Lee’s paintings generally fit on a standard writing table. Her two favorite sizes are 69×69 cm and 123×123 cm. She has, however, begun to combine multiple strips to make a large tableau similar to the Chinese tradition of a multi-paneled screen or lian-ping format. In a back room of her studio where she usually paints is an assortment of Chinese paint brushes, including flat pai-brushes for making sweeps of black marks that establish the armature of her compositions. The same brush dipped in darker ink can be applied to create additional texture on top (fig. II). Her most saturated blacks nowadays are done with acrylic, however, which affords greater contrast with the bright pops of color and negative spaces than the less opaque Chinese ink could. One of the notable developments in contemporary painting in Taiwan is the open definition of “ink.” Contemporary “ink” artists in Taiwan have come to welcome all manners and blackness done in a variety of media. Not least intriguing are Lee Chung-Chung’s dots, particularly the kind shaped like a nail head – pointed on one end, blunt on the other. Precursors of this nail-head stroke can be found in Chinese paintings of the past, such as those by the nineteenth-century Shanghai painter Jen Po-Nien (18401895) in articulating drapery folds, but mostly, this stroke brings to mind the upward lifting (ti) dot in Chinese calligraphy. This departs from the typical calligraphic gesture touted by mid-century American and Japanese modernists. Lee’s dots are wiggly, agile, and mischievous. Moreover, appearing in multiples and often swimming around circular shapes, they can be easily seen as having sexual connotations. Lee’s chromatic scheme, slashing strokes, and sharp ink-color contrast are reminiscent of Chao Chung-Hsiang (1910-1991), an older-generation artist whom Lee came to know and admire. Chao had arrived in Taiwan in 1948, having studied under Lin Feng-Mian (1900-1991) at the Hangzhou National College of Art, like Zao Wou-Ki (1921-2013) and Chu Teh-Chun (1920-2014) did, and went on to teach at the Taiwan Provincial Teachers’ College (today’s National Taiwan Normal University) and the Fu Hsing Kang College in the 1950s. That was before Lee Chung-Chung became a student in the latter college. Chao embraced bold colorism, just like the Europeaneducated Lin Feng-Mian, who saw in the Fauvist palette a fertile resource for modernizing Chinese painting. After settling in New York in 1958, Chao befriended one of the leading abstract painters Yves Klein (1928-1962) and found affinity with Ellsworth Kelly’s (1923-2015) vivid Spectrum Colors series. Chao’s free-handed adaptation of dramatic hues turned into a vehicle for visual ruminations on Confucian, Daoist and Buddhist concepts. Lee
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Chung-Chung’s art is not grounded in grandiose philosophy the way Chao’s was. Nevertheless, being linked to Chao by their common émigré experience and institutional affiliation must have deep resonance that is open to interpretation. One can certainly argue that, by staying the course, Lee merits the title “Preserver of Taiwan’s Modernism.” She was among the prominent names chosen for the landmark exhibition, “Memories Interwoven and Overlapped: Post-martial Law Era Ink Painting in Taiwan,” held at the National Taiwan Museum of Fine Arts, Taichung, in 2017. Since the 1980s, colors have assumed a prominent position in Lee ChungChung’s compositions. Marks on paper – whether ink or color – cannot be undone once they are laid down. If Lee’s pigments seem to overlap and intrude upon each other, this is not intended to hide mistakes. The way she tackles the blank page with speed and confidence is marvelous to watch. But we would be mistaken to think that her images simply arise from the unconscious mind like a Surrealist automatic drawing. In her studio are sketchbooks containing what look like miniature versions of her paintings (fig. III). She also tries out different compositions on scrap cloths, which one of her sons who works in the fashion industry has been able to supply (fig. IV). Cloths of course have a different tactile quality from paper, more approximate to canvas. Pollock, Kelly, and Klein were also prodigious sketch makers. Sketching not only anticipates more fully realized visions, it brings to light the artist’s craft and creative struggles. Leafing through Lee Chung-Chung’s sketches affords a privileged access to her private conversations – with herself. Around 1990, Lee Chung-Chung created some superb female nudes, but she eventually lost interest in such overt references to women as bodies. One might see this development as a conscious rejection of facile gender labels. Few artists were doing abstract nudes in Taiwan, and she could have gone very far in this direction, especially with the rising feminist movement. But she held back. Overall, Lee seldom wavers from her main track, passively resisting or simply recoiling from the dizzying socio-political and artistic tides that have washed over Taiwan. Lee Chung-Chung’s art is as poised and collected as her persona. In the catalogue for a 2015 exhibition at the Liang Gallery, she wrote: “Having lived more than seventy years of my life, now I value nothing more than the inner peace of life. After the decades I have spent in the world of art, the joy and tranquility of art-making are my best rewards to stand firm in front of difficulties and challenges.”
Photographs / Aida Yuen Wong
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III
Lee Chung-Chung Sketch book
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Lee Chung-Chung Sketches
Lee Chung-Chung: Preserver of Taiwan’s Modernism
95×92cm | 2017
My Heart Is Flying
Ink and color on paper 水墨設色、紙本
吾心飛翔
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微風的往事（局部）
Gone with the Wind (detail) P.59
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詩意的宇宙－試論李重重水墨裡的現代與抽象
東海大學 美術系助理教授
吳超然
文
試論李重重水墨裡的現代與抽象
藝術養成 李重重在烽火戰亂的年代裡出生於安徽屯溪，1947 年隨著父親李 金玉來台後，定居台南七股。北門高中畢業之後，她選擇進入公 費的復興崗政治作戰學校美術系就讀。她回憶當年教授國畫科目 的主要老師有傅狷夫、邵幼軒以及鄧雪峰等人。除了這些科班的 老師之外，其實李重重幼年在父親李金玉的引導下，早已對傳統 書畫打下了良好的基礎。在政治作戰學校其間，她不僅對於平劇、 舞台劇與芭蕾展現了高度的興趣，也留下了大量的鉛筆速寫，充 分展現了她對於肢體動作的敏銳觀察【圖 I】。
1965 年，她從政工幹部學校復興崗校區美術科（今國防大學政治 作戰學院）畢業之際，雖然「正統國畫之爭」方興未艾，五月與 東方畫會卻已立足台灣的畫壇。相對於當年學院的保守風氣，五 月與東方畫會所激起的思辨─追求「現代中國畫╱中國現代畫」 勢必也影響到李重重之於未來水墨創作的思考。雖然，幼年父親 的啟蒙或是政戰學校授業老師的作品，無論是山水或花鳥題材， 均歸屬於傳統國畫的範疇，但是對於年輕的創作者而言，冷戰時 代台灣的藝術潮流已經發生明顯的變化。
中國水墨畫學會的影響─「現代」意涵 透過文學家尉天驄的介紹，李重重結識了劉國松，並在 1968 年 加入了劉國松所倡議以追求「中國畫之現代化」為宗旨的「中國 水墨畫學會」。早於 1966 年，劉國松參加了由華裔學者李鑄晉 （1920-2014）與美國學者羅覃（Thomas Lawton, 1931-）所策劃 的「中國新山水傳統」巡迴展，因而在台灣聲名大噪。回顧歷史， 劉國松在 1960 年代的冷戰時期屢獲國外學者賞識其實有其歷史 背景。究其主因乃是中國大陸深陷連串的狂熱政治運動（從大躍 進到文化大革命）之中，因此藝術無法與外界建立連結；對比之 下，由美國所支持的台灣（中華民國）不僅成為「反共的堡壘」 更是「自由中國」的代表。暫且不論五月與東方畫會的成員在
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1 陸蓉之，《台灣（當代）女性藝術史 1945-2002》，台北：藝術家出版社， 2002。頁 127。
1960 年代是否全然的理解西方「現代繪畫」與「現代主義」之間 的複雜關連，或是當時台灣的藝術運動是否能夠表述完整的中國， 劉國松的成功相當程度地引領了當時台灣藝壇對於西方「現代繪 畫」的憧憬與認知。 李重重 1968 年的作品《山水》【圖 II】事實上受到劉國松對於 「中國畫之現代化」主張相當的影響。從題材上而言，「山水」 始終是中國畫從五代以來的一個重要的傳統。但是，李重重作品 中水墨設色暈染結合印拓、肌理與線條的技法，明顯地來自於劉
李重重在加入了「中國水墨畫學會」之後卻選擇了走向「現代水 墨」之路。這個「現代」與「水墨」的組合，實質上部分是受 到劉國松，以及冷戰時期美國大力輸出抽象表現主義（Abstract
Expressionism）的更大的影響所致。李重重回憶她年輕時，趙春
1962) 與德庫寧（Willem de Kooning, 1904-1997）等抽象表象主 義大師的作品。當時，台北的美國新聞處透過「今日世界出版社」 （World Today Press）在 1950 至 1980 年代出版了許多介紹美國文 化的書刊，亦加強化了台灣年輕藝術家在當時對於美國藝術文化的 認知。回首來看，李重重藝術成長的年代，繪畫的「抽象化」不僅 被認為是一種走向現代的趨勢，更是逃脫傳統羈絆的最佳形式。
抽象與具象表現之間的轉化 陸蓉之在評論台灣女性藝術家偏愛抽象繪畫的現象時說：「女性 在面對自我時，選擇以抽象的視覺語彙……大多數並不依靠藝術 理論的導引，而偏向直覺性訴諸於內在的感性。」1 這分析可以合 理的解釋為何劉國松在 1960 至 80 年代運用大量的視覺符號（太 陽、月亮）與傳統道家的畫論來支撐其創作時，李重重的抽象則 脫胎於大自然的變奏。此外，陸蓉之進一步地評論到 1980 年代台 灣女性抽象藝術家訴求一種「以溫和的手段來脫離傳統女性閨閣
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《山水》
藝壇訊息和新視野，使她因而認識了克萊因（Yves Klein, 1928-
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， 水 墨 設 色 、 紙 本 ， 35 × 60cm 1968
翔（1910-1991）老師分享在紐約時的見聞、第一手的國際當代
鉛 筆 速 寫 ， 1961-1965 就讀政工幹部學校美術科 （今國防大學政治作戰學院）學校時期 年攝於李重重住家 2017
國松等人早期的實驗。早期的家學淵源與大學時期國畫的教學，
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詩意的宇宙－試論李重重水墨裡的現代與抽象
2
同上註。
派藝術的路線，以及叛離學院中陽剛而保守的具象繪畫訓練，另 創具備時代感的自我面貌。」2 陸蓉之的此段話可以非常貼切地 適用於李重重的藝術成長歷程。
畢業於政工幹部學校美術科的她必然經歷過一段「學院中陽剛而 保守的具象繪畫訓練」，然而在具象與抽象表現之間，她並非一 往情深的獨往抽象靠攏。1977 年首次的歐洲之旅，她參觀了法 國、荷蘭、西班牙的各大重要博物館的收藏；1990 年返回中國大 陸時飽覽了黃山的秀麗。這些旅行不僅為她帶來了視覺震撼，也 《雅懷》 ，水墨設色、紙本， 1990
70 × 70cm
《春》 ，水墨設色、紙本， 1993
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豐富了她的眼界。1995 年自費出版的《李重重作品集：現代水墨 人物》，一方面是她對於從政戰學校時期鉛筆速寫的延伸，另方 面則展現了她在水墨人物創作的探討。固然在中國畫史上早有五 代石恪與南宋梁楷的減筆或潑墨人物畫，但進入到二十世紀之後， 年輕藝術家始終在徐悲鴻（1895-1953）與林風眠（1900-1991） 的藝術主張之間徘徊不定。李重重 90 年代的水墨人物的確從徐 悲鴻與林風眠之間，走出了一條自己的道路：她的水墨人物沒有 徐悲鴻作品中過於仰賴人體解剖學的僵硬，也不似林風眠那般過 於強調造型的獨立美感。李重重此時期的優秀作品中，例如 1990
33.8 × 44cm
年的《雅懷》【圖 III】和 1993 年的《春》【圖 IV】，都展露了 她從西方式素描的直接描寫順利地轉化成水墨線條的優雅、含蓄 的表現；在筆墨乾濕濃淡的掌控以及色彩和墨韻之間的微妙變化， 也巧妙地鋪陳了整件作品的情感氛圍。
詩意的宇宙
此次尊彩藝術中心「詩意的宇宙」李重重個展共展出二十餘件 作品，均為最近三年之作品。以「現代水墨」來論，李重重在
1968 年 加 入 了「 中 國 水 墨 畫 學 會 」， 事 實 上， 已 經 是 一 種 告 別傳統國畫的立場宣言。也因如此，她在之後將近半世紀的創 作過程裡，無論是色彩的運用、畫面的構成、標題的選擇、肌 理與線條的交疊，乃至於作品的裝裱形式，都與傳統形式有明
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顯的區隔。但是，她又說「我的畫是從傳統走出來的」。雖然 出身於「傳統」，但是「走得出來」才是關鍵所在。 本次展覽中，特別值得關注的作品如，2016 年的《台北的天空》、 《靜靜的島嶼》都在訴說她與在地的連結；2017 年《緣滿人間》 則為此次個展中最為大型的作品；在鮮明跳躍的藍、紫、黃的色 調中，施以大面積的黑與白穩住了畫面。同樣也是今年創作的《啟
型與自然有機造型的暈染色塊面，形成有趣的對比。在色彩的運 用上，李重重的作品常給予觀者一種輕盈、亮麗又富有層次變化 的觀看經驗。其實，她除了使用傳統國畫顏料之外，也搭配了西 方的水彩、壓克力顏料以求變化【圖 V】。她繪畫中的點與線條 往往扮演有如建築中樑柱的角色，構成畫面中的主要結構，然後 再由渲染的墨色或顏色形成了塊面。這種繪畫的內在建構方式， 其實相當的西方。
總結來說，李重重雖然誕生於戰亂的年代裡，但她一路的藝術養 成、樂觀個性與家庭背景卻給予了她穩定的支撐。這使得她的創 作超越了傳統閨秀藝術家的小家碧玉性格；認真地觀看世界、豐 富的旅遊，以及現代抽象風格的選擇，使得她的作品在氣勢壯闊 中，又兼有幽雅與細膩。來自傳統，卻又走出了傳統，「詩意的 宇宙」個展，應該就是這樣的呈現。
圖版提供／吳超然
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李重重使用的顏料 年攝於李重重住家 2017
動的心靈》和《時代的因緣》則用到了紅與黑色的粗線條幾何構
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A Poetic Universe – On the Contemporariness and Abstraction in Lee Chung-Chung’s Chinese Ink Paintings
A Poetic Universe – On
Art Cultivation
the Contemporariness
Lee Chung-Chung was born in Tunxi District, Anhui Province, during an era of war. After moving to Taiwan in 1947 with her father, Lee Chin-Yu, she resided in Cigu District, Tainan City. After graduating from National Beimen Senior High School, she chose to enter the Art Department of the Political Warfare Cadres School (today’s Fu Hsing Kang College) on a government fellowship. She recalled that the leading teachers of Chinese painting during those years included Fu Chuan-Fu, Shao You-Xuan, and Deng Xue-Feng. Before learning from the school’s teachers, Lee had laid the foundation for traditional painting under her father’s guidance when she was a child. During her time at the Fu Hsing Kang College, she was highly interested in Peking opera, theater, and ballet, and she also created many pencil sketches (fig. I), which fully expressed her acute observation of body movements.
and Abstraction in Lee Chung-Chung’s Chinese Ink Paintings
by WU Chao-Jen Assistant Professor Department of Fine Arts, Tunghai University
In 1965, when she graduated from the Fu Hsing Kang College, the fight about what comprised an authentic Chinese painting was in the ascendant, but the Fifth Moon Group and the Ton Fan Group had become established in Taiwan’s painting scene. In contrast to the conservative trend in academia at that time, the inspired thoughts of the Fifth Moon Group and the Ton Fan Group on seeking modern Chinese paintings or Chinese modern paintings must have affected Lee’s thoughts on future creations with Chinese ink. Although the cultivation by Lee’s father and the works by her Fu Hsing Kang College teachers, be the topics landscapes, flowers, or birds, all belonged to the realm of traditional Chinese painting. To the young creator, the art trends in Taiwan during the Cold War underwent significant changes.
The Influence of Chinese Ink Painting Study Association – The Meaning of Modern Introduced by literature scholar Wei Tien-Tsung, Lee met Liu Kuo-Sung, and in 1968, she joined Liu’s Chinese Ink Painting Study Association, whose aim was to modernize Chinese painting. Early in 1966, Liu participated in the “New Chinese Landscape Tradition” traveling exhibition hosted by the Chinese scholar Li Chu-Tsing (1920-2014) and the American scholar Thomas Lawton (b. 1931) and became widely known in Taiwan. In retrospect, Liu was often appreciated by foreign scholars during the 1960s Cold War era for historical reasons. The main reason was that at that time, China was deeply embroiled in zealous political movements, from the Great Leap Forward to
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1 Lu, Victoria Yung - Chih. (2002). History of (Contemporary) Women’s Arts in Taiwan 1945-2002. Taipei: Artist Publishing , p. 127.
the Cultural Revolution, and China’s arts could not make connections with the outside world. In contrast, Taiwan (Republic of China), with the support of the United States, became both a fortress standing against communism and the representative of Free China. Putting aside whether members of the Fifth Moon Group and the Ton Fan Group could fully understand the complicated relationship between western modern painting and modernism or whether Taiwan’s art movement at that time could fully present China, Liu’s success to a certain degree led Taiwan’s art world to admire and understand modern western painting. Lee’s work Landscape (fig. II) painted in 1968 was in fact deeply affected by Liu’s view on modernizing Chinese painting. Regarding the topic, landscapes have long been an important tradition since the Five Dynasty period. However, in that piece of work, Lee’s Chinese ink paintings with color or blooming combined techniques such as inscription rubbing, texture, and lines that originated from the early experiments of Liu and other painters. Despite Lee’s Chinese painting education at home and in college, she chose to compose modern Chinese ink paintings after she joined the Chinese Ink Painting Study Association. The combination of contemporariness and Chinese ink was in reality influenced partly by Liu and more profoundly by the abstract expressionism that the United States forcefully exported during the Cold War era. Lee recalled that when she was young, Chao ChungHsiang (1910-1991) shared with her his experience from the years in New York, including information about the international contemporary art, new horizons, and his acquaintance with such masters of abstract expressionism as Yves Klein (1928-1962) and Willem de Kooning (1904-1997). In the meantime, from 1950 to 1980, the United States Information Agency in Taipei published many publications via the World Today Press to introduce American culture, which reinforced young Taiwanese artists’ understanding of American art culture at the time. Looking back on the era when Lee’s art was developing, making paintings abstract was considered both a trend toward the modern and the best form to escape from the restraints of tradition.
The Transformation between Abstractionism and Concrete Expression When Lu Yung-Chih (Victoria Lu) commented on the phenomenon that Taiwanese female artists preferred abstract painting, she stated, “When women face themselves, they choose abstract visual language… Most of them
22
I
Pencil sketches from the Political Warfare Cadres School (today’s Fu Hsing Kang College) period, 1961-1965 Photo taken at Lee Chung-Chung’s home in 2017
II
Landscape 1968, Ink and color on paper, 35×60cm
A Poetic Universe – On the Contemporariness and Abstraction in Lee Chung-Chung’s Chinese Ink Paintings
2 Ibid.
rely not on the guidance of literary theory but on intuition to express their inner sensitivity.” 1 This analysis rationally explains why, whereas Liu from the 1960s to 1980s employed a large number of visual symbols, such as the sun and the moon, and traditional Taoism’s art criticism to support his creations, Lee’s abstraction derived from nature’s variations. In addition, Liu further commented that in the 1980s, Taiwan’s female abstractionists sought “to adopt a gentle method to detach from traditional female boudoir art and to betray the masculine and conservative concrete painting training in academia, creating a new feature of the self with a sense of the times.” 2 This comment from Liu accurately describes Lee’s experience in the process of developing her art. III
IV
Elegant Style of Mind 1990, Ink and color on paper, 70×70cm
Spring 1993, Ink and color on paper, 33.8×44cm
Having graduated from the Art Department, Fu Hsing Kang College, Lee must have experienced “the masculine and conservative concrete painting training in academia.” However, between the concrete and abstract expressions, she did not whole-heartedly lean toward abstraction. Portfolio of Lee Chung-Chung : Figures/Modern Chinese Ink Painting, which she published at her own expense in 1995, was, on the one hand, an extension of her pencil sketches from her Fu Hsing Kang College period and on the other hand an investigation of figures she created with Chinese ink. Although in Chinese painting history, Shi Ke from the Five Dynasties period and Liang Kai from the Southern Sung Dynasty had created portraits with simple lines or with splash ink painting, after entering the 20th century, young artists vacillated between the art views of Hsu Pei-Hung (1895-1953) and Lin FengMian (1900-1991). Lee managed to walk her own way in the 90s in creating Chinese ink painting portraits: her Chinese ink painting characters were free from the rigidity of Hsu’s works, the product of his over-reliance on human anatomy, and her characters did not have the independent aesthetics that overtly emphasized style like those of Lin. Excellent works by Lee from this period, such as Elegant Style of Mind (fig. III) in 1990 and Spring (fig. IV) in 1993, demonstrated her successful transformation from direct western sketches to elegant and implicit expression with Chinese ink lines. Her control of Chinese ink’s dryness, moistness, thickness, and thinness, and the subtle changes in maneuvering the ink, also skillfully laid out the emotional atmosphere of the whole work.
Poetic Universe Lee Chung-Chung’s solo exhibition, “Poetic Universe,” at Liang Gallery this time includes over 20 works. All of them were composed in the last
23
three years. From the perspective of modern Chinese ink, the fact that Lee joined the Chinese Ink Painting Study Association in 1968 was already the manifestation of her parting with traditional Chinese painting. Because of that, during the creation process of the following nearly half a century, from her use of color to image composition, title choice, texture, and line overlapping to the work’s framing, were all obviously different from traditional forms. Even so, she said, “My paintings have departed from traditions.” Although the works are born out of tradition, the key is the departure from it. In this exhibition, works that are especially note-worthy include Taipei Sky (2016) and Tranquil Island (2016), both of which reflect her connection with the local land. The Fortune of the World (2017) is the largest work in this solo exhibition. Among the distinctive, contrastive blue, purple, and yellow tone, large areas of black and white stabilize the image. Start the Heart (2017) and The Cause of the Times (2017), also composed this year, employ thick red and black lines of geometric configurations, and a natural, organic design of blooming color blocks to formulate an interesting contrast. Lee’s use of color often gives the viewer a viewing experience that is light, bright, and full of layers. In fact, in addition to adopting traditional Chinese paints, she matches them with western watercolors and acrylics for variety (fig. V). The dots and lines in her paintings often play the roles of beams and columns in architecture in that they constitute the main structure of the image. Then she uses blooming ink or color to form blocks. This type of internal construction in the paintings is in fact very western. In summary, although Lee was born in an era of war, the cultivation of her art, her optimistic personality, and her family background have provided her stable support along the way. They have enabled her creations to surpass the restrained, conservative style of traditional female artists. Her diligent observation of the world, her rich travel experiences, and her choice to adopt a modern abstract style make her works magnificent and elegant and exquisite. Originating from tradition but also departing from it – the “Poetic Universe” solo exhibition is such a presentation.
Photographs / Wu Chao-Jen
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V
Color pigments used by Lee Chung-Chung Photo taken at Lee Chung-Chung’s home in 2017
A Poetic Universe – On the Contemporariness and Abstraction in Lee Chung-Chung’s Chinese Ink Paintings
68×69cm | 2017
Ink and color on paper
水墨設色、紙本
微風的牽引之二 Breeze Traction 2
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When looking back at the creation over the years, I wish to create diverse artworks purely responding to my creative mind and reflecting the self-examination in a contemporary environment. Oriental art originated very early and had since developed an international visual vocabulary. After the rise of Impressionism and Fauvism in the late 19th century, the painters abandoned realistic descriptive techniques, and, instead, started using “suggestive” techniques to express their personality. Most of the creative works expressed the subjective perception and spirituality, thus setting off a new wave of art in the 21st century and gradually introducing the realm of “spiritual space” into contemporary art. The ink paintings I create are highly imaginative, creative and poetic. The inherent spirituality of the artworks lies in the realms of Eastern philosophy and is similar to a vast and expansive universe. I have been painting for more than forty years and would like to thank Liang Gallery for organizing a number of solo exhibitions, arranging all the artworks into categories and diligently issuing publications. One more time, thank you very much.
Lee Chung-Chung
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自述 statement
回顧多年來創作，自我反省在當代大環境中，我所希望呈現出來的作品更加多元化， 幾乎是純粹反應本身創作的心境。
世紀新 21
世紀末後期印象派和野獸派興起以後，畫家放棄說明性的寫實技巧，改用以表現 19
東方藝術起源甚早，至今已發展出國際性的視覺語彙。 從 個性的﹁暗示性﹂技法，創作多以表達內在感知及精神性為主張，於是掀起 的藝術思潮，漸漸把當代藝術帶往思考﹁精神空間﹂的領域。
如同我所創作的水墨藝術，思考富有高度的想像力和創造性且詩性，作品的內在精神 性於東方哲學境界裡，像浩瀚無垠的宇宙。
本人創作四十餘年，非常感謝尊彩藝術中心舉行多次個展，也將其作品的脈絡一一整 理出來，加上出版品的用心，再次的感謝。
李重重
27
伊斯坦堡印象之四（局部）
Istanbul Impression 4 (detail) P.85
詩意的宇宙
作 品
Artworks
Poetic Universe
187×95cm | 2017 Ink and color on paper
Summer Green
水墨設色、紙本
夏翠
30
31
124×124cm | 2017
Blossoming Spring
Ink and color on paper 水墨設色、紙本
春意盎然
32
33
95×187cm | 2017
Remembering the Horizon
Ink and color on paper 水墨設色、紙本
憶起地平線
34
35
187×95cm | 2017
The Cause of the Times
Ink and color on paper 水墨設色、紙本
時代的因緣
36
37
緣 滿 人 間
水 墨 設 色 、 紙 本
The Fortune of the WORLD
Ink and color on paper
38
137.5×278cm| 2017
39
187×95cm | 2017
Start the Heart
Ink and color on paper 水墨設色、紙本
啟動的心靈
40
41
187×95cm | 2017
A Call from Afar
Ink and color on paper 水墨設色、紙本
遠方的呼喚
42
43
69×85cm | 2017
Rolling Ashore
Ink and color on paper 水墨設色、紙本
翻滾上岸
44
45
124×124.5cm | 2017
A Rusty Call
Ink and color on paper 水墨設色、紙本
曠野的呼喚
46
47
69×67cm | 2017
Blooming Red Flowers
Ink and color on paper 水墨設色、紙本
紅花綻放
48
似真圖景 水墨設色、紙本
Like a Real Scenery
Ink and color on paper 69×68cm | 2017
49
123.5×123.5cm | 2017
Wild Search
Ink and color on paper 水墨設色、紙本
狂野的追尋
50
51
128×95cm | 2017
Leisure Time
Ink and color on paper 水墨設色、紙本
閒情偶寄
52
53
123.5×125cm | 2017
A Walk Around Heaven and Earth
Ink and color on paper 水墨設色、紙本
遊走乾坤
54
55
61×62cm | 2017
The Beauty of Playing Colors
Ink and color on paper 水墨設色、紙本
遊彩之美
56
心象之變 水墨設色、紙本
A Change of Mind
Ink and color on paper 69×67cm | 2017
57
68×68cm | 2017
Bright Visual Deconstruction
Ink and color on paper 水墨設色、紙本
視覺解構
58
微風的往事 水墨設色、紙本
Gone with the Wind
Ink and color on paper 69×68cm | 2017
59
61×61cm | 2017
Treasure Hunters
Ink and color on paper 水墨設色、紙本
我要抓寶
60
我要抓寶之二 水墨設色、紙本
Treasure Hunters 2
Ink and color on paper 61×61cm | 2017
61
69×69cm | 2017
Flowers' Whispers 2
Ink and color on paper 水墨設色、紙本
花語之二
62
歲月星語 水墨設色、紙本
Tale of Aging Stars
Ink and color on paper 61×61cm | 2017
63
69×68cm | 2017
Through the Lucid Dreams
Ink and color on paper 水墨設色、紙本
穿越過夢境
64
如夢似幻之二 水墨設色、紙本
Like a Dream 2
Ink and color on paper 69×67cm | 2017
65
93×94cm | 2016 Ink and color on paper 水墨設色、紙本
沈醉在這無風的午後
Indulging in this Windless Afternoon
66
67
129×95cm | 2016
The Journey of Contemplation
Ink and color on paper 水墨設色、紙本
沈思的旅步
68
69
70×138cm | 2016
Poetic Universe
Ink and color on paper 水墨設色、紙本
詩意的宇宙
70
71
93×94cm | 2016
The Song of My Heart
Ink and color on paper 水墨設色、紙本
心中的歌
72
73
69×139cm | 2016
Conveying Feelings Through Floral Art
Ink and color on paper 水墨設色、紙本
花藝傳情
74
75
67×68cm | 2016
A Message from FAR AWAY
Ink and color on paper 水墨設色、紙本
遙遠的訊息
76
台北的天空 水墨設色、紙本
Taipei Sky
Ink and color on paper 68×69cm | 2016
77
68×69cm | 2016
The Story of Life
Ink and color on paper 水墨設色、紙本
生活的故事
78
夜月狂想 水墨設色、紙本
Illusion of the Night Moon
Ink and color on paper 69×68cm | 2016
79
69×68cm | 2016
Roar of the Valley
Ink and color on paper 水墨設色、紙本
山谷吼聲
80
靜靜的島嶼 水墨設色、紙本
Tranquil Island
Ink and color on paper 68×69cm | 2016
81
69×68cm | 2016 Ink and color on paper 水墨設色、紙本
伊斯坦堡印象之一
Istanbul Impression 1
82
伊斯坦堡印象之二 水墨設色、紙本 Ink and color on paper 69×65cm | 2016
Istanbul Impression 2
83
69×69cm | 2016 Ink and color on paper 水墨設色、紙本
伊斯坦堡印象之三
Istanbul Impression 3
84
伊斯坦堡印象之四 水墨設色、紙本 Ink and color on paper 72×69cm | 2016
Istanbul Impression 4
85
68×69cm | 2016 Ink and color on paper 水墨設色、紙本
伊斯坦堡風情之一
Atmosphere of Istanbul 1
86
伊斯坦堡風情之二 水墨設色、紙本 Ink and color on paper 68×69cm | 2016
Atmosphere of Istanbul 2
87
68×69cm | 2016 Ink and color on paper 水墨設色、紙本
伊斯坦堡風情之三
Atmosphere of Istanbul 3
88
伊斯坦堡風情之四 水墨設色、紙本 Ink and color on paper 68×69cm | 2016
Atmosphere of Istanbul 4
89
68×69cm | 2016 Ink and color on paper 水墨設色、紙本
伊斯坦堡風情之五
Atmosphere of Istanbul 5
90
意象交融 水墨設色、紙本
Blended Images
Ink and color on paper 69×67cm | 2016
91
139×70cm | 2015
Like a Dream
Ink and color on paper 水墨設色、紙本
如夢似幻
92
93
95×108cm | 2015
Colorful Times
Ink and color on paper 水墨設色、紙本
繽紛歲月
94
95
68×69cm | 2015 Ink and color on paper
Element
水墨設色、紙本
境
96
異時空的相遇 水墨設色、紙本
Different Time and Space Encounter
Ink and color on paper 69×68cm | 2015
97
93×94cm | 2015
The Breath of the Sea
Ink and color on paper 水墨設色、紙本
海的呼吸
98
99
96×89cm | 2015 Ink and color on paper
Autumn Colors
水墨設色、紙本
秋艷
100
101
68×69cm | 2015
Strolling Like Flowing Water
Ink and color on paper 水墨設色、紙本
流水的漫步
102
幻彩異象 水墨設色、紙本
Vision of Briliant Colors
Ink and color on paper 67×69cm | 2015
103
90×90cm | 2014 Ink and color on paper
Exploring Spring
水墨設色、紙本
探春
104
105
69×70cm | 2014 Ink and color on paper
Weathering
水墨設色、紙本
風過
106
遊問乾坤 水墨設色、紙本
Roaming in the Universe
Ink and color on paper 68×69cm | 2014
107
91×121cm | 2014
Cloudy Romance
Ink and color on paper 水墨設色、紙本
雲山戀情
108
109
91×121cm | 2014
Resemblance of Landscape
Ink and color on paper 水墨設色、紙本
山水入象
110
111
69×67cm | 2014 Ink and color on paper
Butterfly
水墨設色、紙本
蝶變
112
藝境還原 水墨設色、紙本
Returning to Art Space
Ink and color on paper 90×60cm | 2014
113
108×95cm | 2014
Crossing the Lifetime
Ink and color on paper 水墨設色、紙本
人生的渡航
114
115
67×69cm | 2014
06
Ink on paper 水墨、紙本
墨境
The Realm of Ink 06
116
微風的牽引 水墨設色、紙本
Breeze Traction
Ink and color on paper 70×69cm | 2014
117
伊斯坦堡印象之三（局部）
Istanbul Impression 3 (detail) P.84
詩意的宇宙
簡 歷
Biography
Poetic Universe
李重重
Lee Chung-Chung
1947 年移居台灣台南；出身書畫世家，自幼耳濡目染，水墨創作 起步早、畫風成熟。1968 年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，使她的作品在蒼勁中顯得流轉 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」，其獨特風格讓她在台灣抽象水墨界佔有 一席之地，並且散發著剛柔並濟的魅力。現居住、創作於台灣。 作品自 1970 年起於美國、歐洲各地、中國、日本、韓國展出。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。
一九四二年生於中國安徽
Born in 1942 in Anhui, China In 1947, Lee Chung-Chung settled in Tainan, Taiwan. She was born into a painter’s family, influenced at an early age she had an early start in ink creation, and now utilizes a mature art style. In 1968, Lee joined Chinese Ink Painting Study Association founded by Liu Kuo-Sung where she developed a style of ink painting permeated with modernity and zeitgeist. Lee 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 the same vibration as “an elephant stomping its feet.” Her unique style, dominated by the charm of firmness and flexibility, has let her establish a solid position in Taiwanese abstract ink painting. Since 1970, she has exhibited in the U.S., various countries in Europe, China, Japan, and Korea. Her artworks are in the collection of 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. She currently lives and works in Taiwan.
120
簡
歷
年 表 1965
政工幹部學校美術科（今國防大學政治作戰學院）畢業，台北，台灣
1971
於凌雲畫廊水墨舉行個展，台北，台灣
1975
於美國文化中心舉行個展，台北，台灣
1978
於龍門畫廊舉行水墨個展，台北，台灣
1981 1984
「中國現代繪畫趨向展」，賽紐斯基博物館，巴黎，法國 於美國文化中心舉行個展，台北，台灣
1985-93 「第一屆至第九屆－亞洲國際美展」，首爾，韓國 1986
於大家藝術中心舉行個展，台北，台灣 「中國傳統繪畫之新潮流」，凡爾賽宮，凡爾賽，法國
1988
「台灣當代藝術創作展」，聖荷西埃及博物館，聖荷西，加州，美國
1990
於亞洲藝術中心舉行個展，陶森，馬里蘭州，美國
1991
於台北市立美術館舉行個展，台北，台灣
1992
於有熊氏藝術中心舉行個展，台北，台灣
1993
「中國現代墨彩畫展」，俄羅斯民族博物館，聖彼得堡，俄羅斯 「台北現代水墨畫」，上海美術館，上海，中國
1994
於國立歷史博物館舉行個展，台北，台灣 「中國現代水墨畫大展」，台灣省立美術館（今國立台灣美術館），台中，台灣
1998
於國際藝展空間舉行水墨個展，台北，台灣 「今日大師與新秀大展－台灣當代抽象藝術新風貌」，巴黎，法國
2001 2003
於東海大學藝術中心舉行水墨個展，台中，台灣 「亞洲國際美展」，香港，中國 「台灣現代水墨畫展」，北京國家博物館，北京，中國
2004
「台灣現代水墨畫展」，青島美術館，青島，中國
2005
「關渡英雄誌台灣現代美術大展」，國立台北藝術大學，台北，台灣
2006
「李重重心象水墨個展」，國父紀念館逸仙藝廊，台北，台灣
2007
於國立雲科大藝文中心舉行水墨個展，雲林，台灣 「台灣水墨畫精品展」，國立新美術館，東京，日本 「第三屆成都雙年展｜特別邀請展：水墨新動向－台灣現代水墨畫展」，成都，中國 「水墨變相－現代水墨在台灣」，台北市立美術館，台北，台灣
2008
於台南縣立文化中心舉行水墨個展，台南，台灣 於天使美術館舉行水墨個展，台北，台灣
121
「第二屆台北當代水墨雙年展」，台北市立美術館，台北，台灣
2009
「開顯與時變－當代創新水墨藝術展」，台北市立美術館，台北，台灣 「中國全國美展」，北京，中國
2011
「李重重現代水墨個展」，新時空文化時空藝術會場，台北，台灣 「百歲百畫－台灣當代畫家邀請展」，國父紀念館中山畫廊，台北，台灣 「 2011 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣
2012
「無美不作－李重重現代水墨個展」，藝星藝術中心，台北，台灣 「國際水墨大展暨學術研討會」，國父紀念館中山畫廊，台北，台灣
2013
「墨染心韻－李重重個展」，貝瑪畫廊，台北，台灣 「亞洲國際美術展覽會」，拉加達曼仁當代藝術中心，曼谷，泰國 「當代中國畫學術論壇暨學術展」，國父紀念館中山畫廊，台北，台灣 「台灣美術家『刺客列傳』 1941-1950 三年級生」，國立台灣美術館，台中，台灣 「台灣現當代女性藝術五部曲 1930-1983 」，台北市立美術館，台北，台灣
2014
「山水現象－李重重個展」，赤粒藝術，台北，台灣 「跨地域的水墨經驗－上海新水墨藝術大展」，喜瑪拉雅美術館，上海，中國 「典藏奇遇記－藝享天開詩與樂」，高雄市立美術館，高雄，台灣 「女人－家：以亞洲女性藝術家之名」，高雄市立美術館，高雄，台灣 「抽象．符碼．東方情－台灣現代藝術巨匠大展」，尊彩藝術中心，台北，台灣 「典藏．對話：演繹台灣當代水墨」，高雄市立美術館，高雄，台灣 「 2014 高雄藝術博覽會」，翰品酒店、駁二藝術特區，高雄，台灣 「台灣美術散步道： 1927-2014 」，尊彩藝術中心，台北，台灣
2015
「三月三日天氣新」，尊彩藝術中心，台北，台灣 「 2015 台南藝術博覽會」，台南大億麗緻酒店，台南，台灣 「山水風華－李重重個展」，尊彩藝術中心，台北，台灣 「返景入深林－當代水墨的內在觀照」，月臨畫廊，台中，台灣 「超驗與象徵－台灣新造形藝術展」，尊彩藝術中心，台北，台灣
2016
「綿綿若存－新進典藏展」，台北市立美術館，台北，台灣 「 2016 藝術北京」，全國農業展覽館，北京，中國 「瀚墨芳華－李重重個展」，尊彩藝術中心，台北，台灣 「 2016 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「伊斯坦堡行腳」，淡江大學文錙藝術中心，新北市，台灣
122
簡
歷
「當代台灣 • 抽象經典展」，耘非凡美術館，台南，台灣
2017
「 2017 亞洲國際美術展覽會－台灣委員會會員展」，淡江大學文錙藝術中心，新北市，台灣 「思變中的中國抽象水墨世紀」，香港巴塞爾藝術展｜藝廊薈萃，香港會議展覽中心， 香港，中國 「全球水墨畫大展」，香港會議展覽中心，香港，中國 「台灣當代藝術家聯合美展」，國防大學政治作戰學院國防美術館，台北，台灣 「記憶的交織與重疊－後解嚴台灣水墨」，國立台灣美術館，台中，台灣 「美的交融－台灣女畫家聯展」，淡江大學文錙藝術中心，新北市，台灣 「 2017 台北國際藝術博覽會」，台北世界貿易中心，台北，台灣 「 2017 杜塞道夫藝術博覽會」， Areal Böhler ，杜塞道夫，德國 「 2017 台北國際水墨大展」，國父紀念館博愛藝廊，台北，台灣 「詩意的宇宙－李重重個展」，尊彩藝術中心，台北，台灣
經 歷 國立台灣美術館典藏諮詢委員，台中，台灣 高雄市立美術館典藏諮詢委員，高雄，台灣 高雄獎水墨膠彩類評審委員，高雄，台灣 國立台灣美術館水墨類展覽評審委員，台中，台灣 台北市立美術館展覽評議委員，台北，台灣 國父紀念館展覽審議委員，台北，台灣 全國美術展水墨類評審委員，台北，台灣 全國美展、台北縣美展評審委員，台北，台灣 南瀛藝術獎水墨類評審委員，台南，台灣 南瀛獎雙年展水墨類評審委員，台南，台灣
123
獲 獎 中國文藝協會現代水墨創作獎，台灣 國立歷史博物館金質獎章，台灣
典 藏 國立歷史博物館，台北，台灣 台北市立美術館，台北，台灣 高雄市立美術館，高雄，台灣 國立台灣美術館，台中，台灣 台南市美術館，台南，台灣 亞洲藝術中心，陶森，美國 福岡美術館，福岡，日本 青島美術館，青島，中國
124
Biography
CHRONOLOGY
1965
Graduated from the Art Department, Political Warfare Cadres School (now Fu Hsing Kang College), Taipei, Taiwan
1971
Solo exhibition of ink paintings, Ling Yun Gallery, Taipei, Taiwan
1975
Solo exhibition, American Cultural Centre, Taipei, Taiwan
1978
Solo exhibition of ink paintings, Lung Men Gallery, Taipei, Taiwan
1981
“Exhibition on Trends of Modern Painting in China”, Cernuschi Museum, Paris, France
1984
Solo exhibition, American Cultural Centre, Taipei, Taiwan
1985-93 “The 1st-9th Asian International Art Exhibition”, Seoul, Korea 1986
Solo exhibition, Dachia Art Center, Taipei, Taiwan
“New Trends in Chinese Traditional Painting”, Château de Versailles, Versailles, France
1988
“Taiwan Contemporary Creative Art Works Exhibition”, Rosicrucian Egyptian Museum, San Jose, CA, USA
1990
Solo exhibition, Asian Arts and Culture Center, Towson, MD, USA
1991
Solo exhibition, Taipei Fine Arts Museum, Taipei, Taiwan
1992
Solo exhibition, H&W Art Centre, Taipei, Taiwan
1993
“Chinese Modern Colour-and-Ink Painting Exhibition”, Russian Museum of Ethnography, Saint Petersburg, Russia
“Taipei Modern Ink Painting Exhibition”, Shanghai Art Museum, Shanghai, China
1994
Solo exhibition, National Museum of History, Taipei, Taiwan
“Chinese Modern Ink Paintings Exhibition”, Taiwan Provincial Museum of Fine Arts (now National Taiwan Museum of Fine Arts), Taichung, Taiwan
1998
Solo exhibition of ink paintings, International Art Exhibition, Taipei, Taiwan
“Exhibition of Works by Today’s Masters and New Talents – Refreshing Images of Taiwan Contemporary Abstract Art”, Paris, France
2001
Solo exhibition of ink paintings, Tunghai University Art Gallery, Taichung, Taiwan
2003
“Asian International Art Exhibition”, Hong Kong, China
“Taiwan Modern Ink Paintings Exhibition”, National Museum of Beijing, Beijing, China
2004
“Taiwan Modern Ink Paintings Exhibition”, Qingdao Art Museum, Qingdao, China
2005
“Kuan-Tu Heroes Chronicle – Taiwan Modern Art Exhibition”, Taipei National University of the Arts, Taipei, Taiwan
2006
“Ink Painting of Lee Chung-Chung”, Yat-sen Gallery of National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan
2007
Solo exhibition of ink paintings, Art Center of Yunlin University of Science and Technology, Yunlin, Taiwan
“Taiwan Ink Painting Treasures Exhibition”, National Art Center, Tokyo, Japan
“The 3rd Chengdu Biennale | Special Invitation – New Trend of Contemporary Ink Painting: Ink Works from Taiwan”, Chengdu Contemporary Art Museum, Chengdu, China
“Ink Transformation – Modern Ink Painting”, Taipei Fine Arts Museum, Taipei, Taiwan
2008
Solo exhibition of ink paintings, Art Center of Tainan County, Tainan, Taiwan
Solo exhibition of ink paintings, Angel Art Gallery, Taipei, Taiwan
125
“The 2nd Taipei International Modern Ink Painting Biennial”, Taipei Fine Arts Museum, Taipei, Taiwan
2009
“Open Flexibility: Innovation Contemporary Ink Art”, Taipei Fine Arts Museum, Taipei, Taiwan
“China Art Exhibition”, Beijing, China
2011
“Solo Exhibition of Lee Chung-Chung’s Modern Ink Paintings”, Starts Studio of Spatial and Timing Arts, Taipei, Taiwan
“100 Taiwan Contemporary Invitational Exhibition”, Zhongshan Art Gallery of National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan
“Art Taipei 2011”, Taipei World Trade Center, Taipei, Taiwan
2012
“Solo Exhibition of Lee Chung-Chung’s Modern Ink Paintings”, Star Gallery, Taipei, Taiwan
“International Ink Painting Exhibition and Symposium”, Zhongshan Art Gallery of National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan
2013
“L’encre de Chine, Chant du Coeur – Solo Exhibition of Ink Paintings”, Pemalamo Gallery, Taipei, Taiwan
“Asian International Art Exhibition”, Contemporary Art Center LAC Dammam, Jen, Bangkok, Thailand
“Contemporary Chinese Painting Academic Forum and Academic Exhibition”, Zhongshan Art Gallery of National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan
“The Pioneers of Taiwanese Artists, 1941-1950”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
“Women Adventurers: Five Eras of Taiwanese Art 1930-1983”, Taipei Fine Arts Museum, Taipei, Taiwan
2014
“Landscape Impressions – Solo Exhibition of Ink Paintings”, Red Gold Fine Art, Taipei, Taiwan
“On-site: Cross-contextual Ink Art Experience – Parallel Exhibition of Shanghai New Ink Painting Art Exhibition”, Himalayas Museum, Shanghai, China
“Marvelous Encounters in the Collection: On Wings of Music and Poetry”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
“Women – Home: In the Name of Asian Female Artists”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
“Abstract / Symbol / Oriental – Exhibition of Taiwan's Masters of Modern Art”, Liang Gallery, Taipei, Taiwan
“Collection and Dialogue – Taiwan’s Contemporary Ink Painting”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
“Art Kaohsiung 2014”, Chateau de Chine, The Pier-2 Art Center, Kaohsiung, Taiwan
“Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan
2015
“Freshness of March”, Liang Gallery, Taipei, Taiwan
“Art Tainan 2015”, Tayih Landis Hotel, Tainan, Taiwan
“Elegance of Landscape – Lee Chung-Chung Solo Exhibition”, Liang Gallery, Taipei, Taiwan
“Exhibition of Contemporary Ink Painting”, Moon Gallery, Taichung, Taiwan
“Transcendence and Symbol: The Exhibition of Neoplastic Art in Taiwan”, Liang Gallery, Taipei, Taiwan
2016
“Boundless Visions – New Acquisitions from the Permanent Collection”, Taipei Fine Arts Museum, Taipei, Taiwan
“Art Beijing 2016”, National Agriculture Exhibition Center, Beijing, China
“The Alluring Vastness of Ink – Lee Chung-Chung Solo Exhibition”, Liang Gallery, Taipei, Taiwan
“Art Taipei 2016”, Taipei World Trade Center, Taipei, Taiwan
“Walk in Istanbul”, Carrie Change Fine Arts Center of Tamkang University, New Taipei City, Taiwan
“Contemporary Taiwan: An Exhibition of Abstract Art Classics”, Remarkable Cultivation Museum, Tainan, Taiwan
126
Biography
2017
“2017 Asian International Art Exhibition By Taiwan Committee Members”, Carrie Change Fine Arts Center of Tamkang University, New Taipei City, Taiwan
“Contemplating Changes in Chinese Abstract Painting”, Art Basel Hong Kong | Galleries, Hong Kong Convention and Exhibition Centre, Hong Kong, China
“Ink Global”, Hong Kong Convention and Exhibition Center, Hong Kong, China
“Art Exhibition of Contemporary Artist, Taiwan”, Fine Arts Museum of Fu Hsing Kang College, Taipei, Taiwan
“Memories Interwoven and Overlapped: Post-martial Law Era Ink Painting in Taiwan”, National Taiwan Museum of Fine Arts, Taichung, Taiwan
“Exhibition by Famous Female Artists From Taiwan”, Carrie Change Fine Arts Center of Tamkang University, New Taipei City, Taiwan
“Art Taipei 2017”, Taipei World Trade Center, Taipei, Taiwan
“Art Düsseldorf 2017”, Areal Böhler, Düsseldorf, Germany
“2017 Taipei International Ink Painting Exhibition”, Bo-ai Gallery of National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan
“Poetic Universe – Lee Chung-Chung Solo Exhibition”, Liang Gallery, Taipei, Taiwan
EXPERIENCE
Advisory Committee for National Taiwan Museum of Fine Arts, Taichung, Taiwan
Advisory Committee for Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
Examination Committee for Kaohsiung Awards, Kaohsiung, Taiwan
Evaluation Committee for Exhibitions held at the National Taiwan Museum of Fine Arts, Taichung, Taiwan
Evaluation Committee for Exhibitions held at the Taipei Fine Arts Museum, Taipei, Taiwan
Evaluation Committee for Exhibitions held at the National Dr. Sun Yat-sen Memorial Hall, Taipei, Taiwan
Examination Committee for National Art Exhibition, Taipei, Taiwan
Examination Committee for National Art Exhibition and Taipei County Art, Taipei, Taiwan
Examination Committee for the Category of Ink Paintings at the Nan-Ying Art Award, Tainan, Taiwan
Examination Committee for the Category of Ink Paintings at the Nan-Ying Biennial Art Award, Tainan, Taiwan
127
AWARDS
Modern Creative Ink Painting Award, Chinese Writers’ & Artists’ Association, Taiwan
Gold Award, National Museum of History, Taiwan
COLLECTIONS
National Museum of History, Taipei, Taiwan
Taipei Fine Arts Museum, Taipei, Taiwan
Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan
National Taiwan Museum of Fine Arts, Taichung, Taiwan
Tainan Art Museum, Tainan, Taiwan
Asia Art Center, Towson, USA
Fukuoka Art Museum, Fukuoka, Japan
Qingdao Art Museum, Qingdao, China
128
Biography
67×69cm | 2015
Change of Heart 2
Ink and color on paper 水墨設色、紙本
心形之變之二
129
Istanbul Impression 2 (detail) P.83 伊斯坦堡印象之二（局部）
圖 錄
詩意的宇宙
Poetic Universe
Catalog
132
Page. 15
Page. 25
Page. 31
吾心飛翔
微風的牽引之二
夏翠
My Heart Is Flying
Breeze Traction 2
Summer Green
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
95×92cm | 2017
68×69cm | 2017
187×95cm | 2017
Page. 33
Page. 34-35
Page. 37
春意盎然
憶起地平線
時代的因緣
Blossoming Spring
Remembering the Horizon
The Cause of the Times
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
124×124cm | 2017
95×187cm | 2017
187×95cm | 2017
Page. 38-39
Page. 41
Page. 43
緣滿人間
啟動的心靈
遠方的呼喚
The Fortune of the World
Start the Heart
A Call from Afar
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
137.5×278cm| 2017
187×95cm | 2017
187×95cm | 2017
Page. 45
Page. 47
Page. 48
翻滾上岸
曠野的呼喚
紅花綻放
Rolling Ashore
A Rusty Call
Blooming Red Flowers
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
69×85cm | 2017
124×124.5cm | 2017
69×67cm | 2017
133
Page. 49
Page. 51
Page. 53
似真圖景
狂野的追尋
閒情偶寄
Like a Real Scenery
Wild Search
Leisure Time
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
69×68cm | 2017
123.5×123.5cm | 2017
128×95cm | 2017
Page. 55
Page. 56
Page. 57
遊走乾坤
遊彩之美
心象之變
A Walk Around Heaven and Earth
The Beauty of Playing Colors
A Change of Mind
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
123.5×125cm | 2017
61×62cm | 2017
69×67cm | 2017
134
Page. 58
Page. 59
Page. 60
視覺解構
微風的往事
我要抓寶
Bright Visual Deconstruction
Gone with the Wind
Treasure Hunters
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
68×68cm | 2017
69×68cm | 2017
61×61cm | 2017
Page. 61
Page. 62
Page. 63
我要抓寶之二
花語之二
歲月星語
Treasure Hunters 2
Flowers' Whispers 2
Tale of Aging Stars
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
61×61cm | 2017
69×69cm | 2017
61×61cm | 2017
135
Page. 64
Page. 65
Page. 67
穿越過夢境
如夢似幻之二
沈醉在這無風的午後
Through the Lucid Dreams
Like a Dream 2
Indulging in this Windless Afternoon
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
69×68cm | 2017
69×67cm | 2017
93×94cm | 2016
Page. 69
Page. 70
Page. 73
沈思的旅步
詩意的宇宙
心中的歌
The Journey of Contemplation
Poetic Universe
The Song of My Heart
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
129×95cm | 2016
70×138cm | 2016
93×94cm | 2016
136
Page. 74-75
Page. 76
Page. 77
花藝傳情
遙遠的訊息
台北的天空
Conveying Feelings Through Floral Art
A Message from Far away
Taipei Sky
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
69×139cm | 2016
67×68cm | 2016
68×69cm | 2016
Page. 78
Page. 79
Page. 80
生活的故事
夜月狂想
山谷吼聲
The Story of Life
Illusion of the Night Moon
Roar of the Valley
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
68×69cm | 2016
69×68cm | 2016
69×68cm | 2016
137
138
Page. 81
Page. 82
Page. 83
靜靜的島嶼
伊斯坦堡印象之一
伊斯坦堡印象之二
Tranquil Island
Istanbul Impression 1
Istanbul Impression 2
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
68×69cm | 2016
69×68cm | 2016
69×65cm | 2016
Page. 84
Page. 85
Page. 86
伊斯坦堡印象之三
伊斯坦堡印象之四
伊斯坦堡風情之一
Istanbul Impression 3
Istanbul Impression 4
Atmosphere of Istanbul 1
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
69×69cm | 2016
72×69cm | 2016
68×69cm | 2016
Page. 87
Page. 88
Page. 89
伊斯坦堡風情之二
伊斯坦堡風情之三
伊斯坦堡風情之四
Atmosphere of Istanbul 2
Atmosphere of Istanbul 3
Atmosphere of Istanbul 4
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
68×69cm | 2016
68×69cm | 2016
68×69cm | 2016
Page. 90
Page. 91
Page. 93
伊斯坦堡風情之五
意象交融
如夢似幻
Atmosphere of Istanbul 5
Blended Images
Like a Dream
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
68×69cm | 2016
69×67cm | 2016
139×70cm | 2015
139
140
Page. 95
Page. 96
Page. 97
繽紛歲月
境
異時空的相遇
Colorful Times
Element
Different Time and Space Encounter
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
95×108cm | 2015
68×69cm | 2015
69×68cm | 2015
Page. 99
Page. 101
Page. 102
海的呼吸
秋艷
流水的漫步
The Breath of the Sea
Autumn Colors
Strolling Like Flowing Water
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
93×94cm | 2015
96×89cm | 2015
68×69cm | 2015
Page. 103
Page. 105
Page. 106
幻彩異象
探春
風過
Vision of Briliant Colors
Exploring Spring
Weathering
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
67×69cm | 2015
90×90cm | 2014
69×70cm | 2014
Page. 107
Page. 109
Page. 111
遊問乾坤
雲山戀情
山水入象
Roaming in the Universe
Cloudy Romance
Resemblance of Landscape
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
68×69cm | 2014
91×121cm | 2014
91×121cm | 2014
141
142
Page. 112
Page. 113
Page. 115
蝶變
藝境還原
人生的渡航
Butterfly
Returning to Art Space
Crossing the Lifetime
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
69×67cm | 2014
90×60cm | 2014
108×95cm | 2014
Page. 116
Page. 117
Page. 129
墨境 06
微風的牽引
心形之變之二
The Realm of Ink 06
Breeze Traction
Change of Heart 2
水墨、紙本 Ink on paper
水墨設色、紙本 Ink and color on paper
水墨設色、紙本 Ink and color on paper
67×69cm | 2014
70×69cm | 2014
67×69cm | 2015
143
Executive Director
發行人
總經理 Director
出版者 Publisher
策劃編輯 Editor
Translation
翻 譯
展場執行 Display Executive
Yu Yen-Liang
余彥良
陳菁螢 Claudia Chen
尊彩國際藝術有限公司 Liang Gallery Co., Ltd.
楊旻軒 Cindy Yang
Siraya Pai, Laura Lygaityte
白斐嵐、李樂蓉
洪鼎鈞 Hong Ding-Jiun
Poetic Universe
展場燈光 Lighting
攝 影 Photographer
設 計 Designer
Printing
印 刷
何仲昌 Ho Chung-Chang
劉光智 KC
劉銘維 Liu Ming-Wei
Jih-Tung Art Printing Co., Ltd.
日動藝術印刷有限公司
First Edition, December, 2017
二零一七年十二月初版 Publishing Date
978-986-94070-9-0
出 版
ISBN
李重重 Lee Chung-Chung
145