超驗與象徵－台灣新造形藝術展Transcendence and symbol: The Exhibition of Neoplastic Art in Taiwan by Liang Gallery

目錄 Contents

總論 Introduction

超驗與象徵台灣新造形藝術展

策展人白適銘 Pai Shih-Ming

Transcendence and Symbol the Exhibition of Neoplastic Art in Taiwan

評論與簡歷 Article and Biography

維繫於一念與一線之間─趙春翔的藝術如是觀

謝佩霓 Hsieh Pei-Ni

Holding between an Idea and a Line — Chao Chung-Hsiang’s Art Is Like this Concept

趙春翔簡歷 11

CHAO Chung-Hsiang's Biography

窮途或新徑？─楚戈有關「現代中國畫」之論述與意義建構

白適銘 Pai Shih-Ming

A Dead End or a New Path? — Chu Ko’s Discourse on the “Modern Chinese Painting” and Its Construction

楚戈簡歷 23

CHU Ko's Biography

白色的魅力與震撼─林壽宇藝術之美

王秀雄 Wang Hsiu-Hsiung

The Fascinating and Breathtaking White – Art of Richard Lin

林壽宇簡歷 35

Richard LIN's Biography

蒼勁．婉約．李重重

蕭瓊瑞 Hsiao Chong-Ray

Vigorous and Restrained — Lee Chung-Chung

李重重簡歷 49

LEE Chung-Chung's Biography

意識的懸宕─試論莊普的繪畫

王嘉驥 Chia Chi Jason Wang

Conscious Cliff-Hanging – An Essay on Tsong Pu’s Paintings

莊普簡歷 TSONG Pu's Biography

圖版 Artworks

趙春翔 CHAO Chung-Hsiang

楚戈 67

林壽宇 Richard LIN

CHU Ko

李重重 91

LEE Chung-Chung

莊普 TSONG Pu

圖錄 Catalog

113

126

總論

超驗與象徵－台灣新造形藝術展

興起於一九六○年代的現代繪畫運動，受到美國抽象繪畫的影響，透過解構形象、追求造形及對幾何內涵的持續探索，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。抽象觀念影響甚鉅，非僅及於油畫，如水墨、版畫、陶瓷、雕塑或建築等，亦對其產生不同程度的回應。隨著媒材、技法及觀念的擴充，迄於八○年代，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。同時，象徵其對學院、傳統、官方勢力批判的心靈奮鬥結果。形式取代內容、意念超越言說，絕對而自由、自主而不孤立，

體、意識框架的心理需求。本展覽的五位藝術家 ─ 趙春翔 (1910-1991) 、楚戈 (1931-

代，其背景迥異，創作動機及藝術成就卻殊途同歸。在風格上，從戰前的野獸派轉化至表現主義、超現實、幾何抽象、絕對主義、極簡主義、新造形主義、結構主義等領域；在媒材方法上亦擴充至半自動技法、現成物、拼貼、印拓、複合媒材及裝置等，共同建構出一部跨越現代及當代時空界線的微縮歷史，反映台灣戰後現代美術新造形觀念的多元化面貌。

策展人白適銘

2011) 、林壽宇 (1933-2011) 、李重重 (1942-) 及莊普 (1947-) ，分別代表台灣戰後抽象藝術發展的三個不同世

國立台灣師範大學美術學系教授

的特質，來自於知識菁英絕不妥協的反骨精神與跳脫身

文

有無相容、體神並通，現代抽象藝術看似虛無卻雄辯難遏

Transcendence and Symbol the Exhibition of Neoplastic Art in Taiwan

Text by

Curator Pai Shih-Ming

Professor of the Department of Fine Arts, National Taiwan Normal University

Introduction

American abstract painting had a profound impact upon the modern art movement that reached its height in the 1960s. The movement continued to explore the shape and geometry by deconstructing images. It was the most important step in the modernization of fine arts in the post-war Taiwan that resulted in the appearance of avant-garde and other experimental art forms. Abstraction had a huge influence not only on oil painting, but also on ink painting, printmaking, ceramics, sculpture, and even architecture. Neoplastic art became the mainstream of modern art in Taiwan and prevailed in the art scene until the 1980s. It supported the expansion of mediums, techniques and ideas, and also benefited the integration into international community. 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 un-isolated, tangible yet intangible, physical and mental became the main qualities. The five artists, Chao Chung-Hsiang (1910-1991), Chu Ko (1931-2011), Richard Lin (1933-2011), Lee Chung-Chung (b. 1942) and Tsong Pu (b. 1947), whose works are on display in this exhibition, represent three different generations of the development of abstract art in post-war Taiwan. Despite very different backgrounds, their creative motivations and artistic achievements were the same. In terms of painting style, pre-war Fauvism gave up its positions to expressionism, surrealism, geometric abstractionism, absolutism, minimalism, neoplasticism, structuralism, and other -isms. The use of mediums has also expanded to semi-automatic techniques, ready-made objects, collage, rubbing, mixed media, and installations. These artists jointly constructed diverse appearances of neoplastic art in post-war Taiwan.

維繫於一念與一線之間—趙春翔的藝術如是觀

維繫於一念與一線之間趙春翔的藝術如是觀

評論

在西潮東漸的衝擊震撼下，中國藝術家始終未能逃避兩項關鍵課題：一則是處於社會丕變、時局動盪的更迭中，徘徊搖擺於傳統守成與革命創新兩條殊途之問，另一則是掙扎平衡於本土與國際認同間的嚴重落差。第一批立命海外的中國現代藝術家當中，有別於趙無極、朱德群主採油畫形式表現以及常玉、丁雄泉鍾情描寫西方

文

謝佩霓

高雄市立美術館前館長

題材，一樣長年在歐美現代藝壇主戰場上；嘗試以「中體西用」力爭一席之地的趙春翔，以「具象與抽象結合、內容與形式並重的獨特風格」，綜合創建出獨樹一幟的兼容藝術，從而贏得了「不古不今，亦古亦今。不中不西，亦中亦西」的盛譽肯定。根據趙春翔本人在 1975 年於紐約發表的創作自述得悉，他終生奉行不渝的思想圭臬，係得自國學大師張默生真傳的「儒、釋、道的哲學精要，尤其是老子、莊子的哲學」，甚而堅信「支配中國四千六百年人文思想發展的唯一主要動力，是易經」。基於這樣的理念出發，影響所及不唯僅在其倫理觀、道德觀和宇宙觀而已，具體呈現於畫作上時，則是貫徹「去甚、去奢、去泰」的作法，講求均衡相對的「中庸之道」，並視「仁」當為藝術的最終目的與最高境界。因此德國苟柏 (R. Goepper) 教授以「中學為體，西學為用」總結趙春翔：「雖然趙先生早已成為現代國際繪畫藝壇中的一員，但由於他具有強烈的中國社會的傳統觀念，他本質上是一個中國畫家。」視以上綜合的中國人文思想為前導，趙春翔「以東方藝術為經，以西方藝術為緯」，標榜透過比較剖析、研習判斷所得的菁華從事水墨繪畫，與西方現代藝術互為砥礪、表裡。儘管趙春翔頗能領略西方藝術精髓。有論者甚至以為他與眾不同之處，在於「學到不折不扣的西方藝術的精神」，不過他雖然主張不「胸有成竹」、放棄「意在筆先」，但顯然同時師法自然無為，追求「不以形似，但求神似」的形而上意境，落筆於當下，而「潑墨」的格調則渾然自成。在諸多探究趙春翔在藝術形式上的特徵之論述中，筆者認為當以莊申教授於 1992 年發表的〈德沛宇宙〉一文最見雄圖。莊教授按梅瑟（ T. M. Messer ）所著之《理代大師繪畫精選》一書所輯錄的圖片判定，早在 1963 年便在畫中

出現同心圓的趙春翔，比史底拉 (F. Stella) 、凱利 (E. Kelly) 足足早了三、四年。筆者同意莊申的觀察：「趙春翔的同心圓的表現不像史底拉所畫的同心圓那麼富幾何性」，因此寧可傾向於將之與諾蘭德 (K . Noland) 畫中「寫意式」的彩色同圓類比。莊申又認為，「特別值得注意的，他（趙春翔）所選擇的顏色，大致不外紅、黃、綠、藍、白等五種」，乃受自凱利「五色光譜」的影響。筆者則希望在此提出，這個特徵應與諾蘭德的色彩同心圓相較更為適當。不過與其如此順應西方文脈爬梳，倒不妨視此五色為傳統國畫設色使用的基本原色。就趙春翔在畫面構成，線條的表現而論，固然可以與馬諦斯 (H. Matisse) 、畢卡索 (P. Picasso) 、米羅 ( J. Miro) 、達比埃斯 (A. Tapies) 、蘇拉吉 (P. Soulages) 、克萊因 (F. Kline) 、德庫寧 (W. de Kooning) 、史底拉、紐曼 (B. Newman) 、羅斯柯 (M. Rothko) 等人的藝術形式相呼應，對照出趙氏置身於立體主義、野獸派、超現實主義、非形象藝術、抽象表現主義、行動繪畫、色域繪畫及硬邊繪畫一連串的衝擊下，所陶冶出的實際回應。至於趙春翔廣為人知的點彩 (Tachist) 畫風，溯及米羅、陸易斯 (M. Louis) 、阿雷欽斯基 (P. Alechinsky) 、法蘭西斯 (S. Francis) 、波洛克 ( J.

Pollock) 的啟發，自然也無可厚非。至今有關趙春翔的評述，泰半停留在探討其水墨技法的階段。相對地，筆者則遺憾地發現，吾人在檢視兼容東西的趙氏風格的流變之時，往往過度側重指陳來自西方大師的影響，反倒輕忽了他畫中已賦與了時代性的中國東方成份，更遑論趙春翔與中國當代藝術家相交遊而交互影響留下的痕跡。美國學者魏赫斯勒 (J. Wechsler) 在評趙氏專文中，剴陳西方藝術家，如何對於闖入西方古抽象表現主義的藝術家謁力否定，「認為他們只是西方創意的拙劣模仿者。這實際上是對自已無知的一種諷刺」。這般直指盲點的諍言，的確發人深省。是否因為執著而視而不見，致使我們寧可向現代的西方追本溯源，而失去了本身固有菁華對話的能力？譬如以上提及的形式特徵，與其光是以西方現代大師為象度，牽引出趙春翔藝術表現的相位，我們何不逕行肯定東方抽象藝術的經典代表一特別是講究行雲流水的行書和筆墨酣暢淋漓的草書，無疑也是潤澤趙氏滴線，點彩作風之所由出？

維繫於一念與一線之間—趙春翔的藝術如是觀

評論

回溯前提色彩繽紛的同心圓，晚期經常出現的彩色漩渦，

1966 年偏愛的填色渾園球體等造型，的確可引發與諾蘭德、封塔那 (L. Fontana) 《鑽孔》系列中的厚塗大漩渦，苟特里伯 (A. Gottlieb) 《爆炸》系列的當然聯想。但是若以趙春翔承襲的中國象徵性思想觀點思之，則不如直接回溯至趙氏嚮往自然的道家信仰。如此一來，與西方似曾相識、如影隨形的從屬關係迎刃而解；大漩渦可以作大爆炸

(Big Bang) 後的渾沌初開觀，同心圓成可直喻為天體運行的軌跡、磁場，而球型則不啻是言簡筆賅地再現「天圓地方」的古老信念。始於擬象式的思考，付諸寓言式的形態，趙春翔之所以能夠同獲東、西方人士的青睞，可以歸功於其掌握宇宙原型、人類共相，嫻熟併用以實相、具象入畫，激起觀者主、客觀記憶，情感投射的共嗚。不論是花鳥蟲魚、風林山水、乃至於人面、紅燭、均是寓意深長、無分古今中西的象徵符號。誠然，趙春翔的型符，之於中國人，更具備了「文化圖騰」的認同吸引力：蓮、竹、瓜、籐、鳥、燭、莫不均是蘊藏無限生命力與節慶意味的恆久象徵。他的畫因借物、比喻抒發，因此愈看愈有趣，處處皆藏意義，端視觀者執何一端。譬如他酷愛畫的鳥、既有畢卡索、馬諦斯、米羅、布拉克 (G. Braque) 的自在歡愉，也有石濤、八大山人、林風眠的寫意抒情。他的鳥是「天命玄鳥」，是莊子的大鵬，是感恩的慈鳥，也可能是男體的象徵。悠遊於中西共通的具象符號之中全無阻隔趙春翔即興恣意而為，卻能跳脫刻板而逸趣橫生，可謂現代中國藝術家中僅見。趙春翔中西互見的藝術裡，蘊含的不只是現代的西方和古典的東方而已。或因師承或因相交遊或因置身異域的共同命運使然，在他一生中不同階段與之過從甚密的當代中國現代藝術家彼此互動的成份，也在其個人藝術成型的過程中，留下或多或少的遺跡。他滿盈著地一生遊走三大洲間的藝術行旅所得，「海納百川成其大」，因而成就了廣闊的藝術格局。在一筆力透紙背之際，彙結出縱貫古今東西、穿越時空而自成天地。在他成就了他個人「自我完美的宇宙」之餘，趙春翔也為我們營造出了一座人間「玄妙的精神天堂」。

Holding between an Idea and a Line Chao Chung-Hsiang’s Art Is Like this Concept

Holding between an Idea and a Line Chao Chung-Hsiang’s Art Is Like this Concept Text by

Hsieh Pei-Ni

Former Director, Kaohsiung Museum of Fine Arts

Article

With the impact of the spread of Western and Eastern culture, Chinese artists have been unable to escape two key issues. One was the alternation between civil unrest and a changing society, hovering between the two different paths: traditionalism and revolutionary innovation. The other was the struggle with balancing the serious gap between local and international recognition. Among the first group of Chinese modern artists that went overseas was Chao Chung-Hsiang. Chao’s style differed from that of Chao Wou-Ki and Chu TehChun, who mainly depicted in the form of oil painting, and Sanyu and Walasse Ting, who was in favor of illustrating Western themes. Like them, Chao has held his place in the European and American modern art scene for many years. Striving to make a name for himself by using “Eastern Foundation with Western Thinking”, Chao had a unique style that “combined the figurative and abstract in both content and form.” He won the honored recognition of “It is neither ancient nor modern, yet both ancient and modern. It is neither Eastern nor Western, yet both Eastern and Western.” According to Chao’s statement proclaimed in 1975, his unwavering lifelong model of thought came from Chinese studies of Master Zhang Mo-Sheng’s “essentials of Confucianism, Buddhism and Taoism philosophy, especially the philosophy of Lao Tzu and Chuang Tzu”. Chao even believed that “the only major power that dominated China’s humanistic thought development over the last four thousand six hundred years is I Ching”. Based on this concept, its impact does not only lie in its ethics, morals, or worldview. When it is depicted figuratively in paintings, it implements the method of “shunning excess, shunning grandiosity, and shunning arrogance”, emphasizing a balanced and relative “moderation” while regarding “ren” as the ultimate goal of art and the highest realm. German professor R. Goepper summarized Chao as “Chinese knowledge as the foundation, and Western knowledge for application”. Goepper noted, “Although Mr. Chao has already become a member of the modern international painting scene, Chao has a strong mindset of the Chinese community. He is essentially a Chinese painter.” Chao used “Eastern art as the longitude, and Western art as the latitude” to boast ink wash painting through the essence obtained from comparative analysis, research, and judgment, which served as mutual encouragement and influence for Western modern art. Some critics thought that what distinguished him from others was that he “learned the authentic spirit of Western art”. Even though he advocated not “planning in advance” and disregarded “having an idea in mind before painting”, at the same time, he evidently assumed naturalness, pursuing the metaphysical conception of “not demanding shape, but a similarity in spirit”. He paints in the moment, ultimately forming the style of “splash-ink”. In many discourses on the characteristics of Chao’s art forms, the author 08

believes that Cosmos, published by Professor Chuang Shen in 1992, was the most assertive. Through the pictures in the book, Selection of Paintings, by T. M. Messer, professor Chuang determined that Chao had concentric circles in his paintings in 1963, which was earlier than F. Stella and E. Kelly by a good three to four years. The author agrees with the observations of Chuang, “The manifestation of Chao Chung-Hsiang’s concentric circles is not like Stella’s concentric circles which are very much geometric.” Thus, the author prefers to lean towards the analogy of the colored circles of “freehand style” in K. Noland’s paintings. Zhuang also believed that, “Particularly noteworthy is his (Chao’s) choice of colors, which are generally red, yellow, green, blue, and white.” Chao was influenced by Kelly’s “five colors spectrum”. The author points out that it would be more appropriate to compare this feature to Noland’s colored concentric circles. However, if we conform to combing out the Western context, we might as well view these five colors as the basic colors of traditional Chinese painting. The lines in the composition of Chao’s paintings echo the art forms of H. Matisse, P. Picasso, J. Miro, A. Tapies, P. Soulages, F. Kline, W. de Kooning, F. Stella, B. Newman, and M. Rothko. It contrasts Chao’s exposure to the actual response shaped by a series of impact by Cubism, Fauvism, Surrealism, Nonfigurative Art, Abstract Expressionism, Action Painting, Color-Field Painting, and Hard-Edge Painting. As for Chao’s widely known Tachist painting style, it can be traced to the inspirations of J. Miro, M. Louis, P. Alechinsky, S. Francis, and J. Pollock. Until recent, most of the commentaries on Chao focused on his ink techniques. In comparison, discovered that when people examine the flow and change of Chao’s integrated style of East and West, they often excessively focus on his influences from Western masters. As a matter of fact, Chao’s paintings have been endowed with Chinese and Eastern components representative of the era, not to mention the traces made by Chao’s interaction and mutual influence with Chinese contemporary artists. American scholar J. Wechsler wondered, how Western artists can deny the endeavors of the artists that broke into Western ancient abstract expressionism, and “believe that they are just parody creators of Western creativity? This is actually a satire of our ignorance.” This statement that points out the blind spot is very thought-provoking because of the persistence that they turn a blind eye, causing us to prefer to trace the origin of the modern West, thereby losing our inherent ability of the essence of dialogue. For example, in the characteristics of form mentioned above, if we just use modern Western masters as the model to draw out Chao’s phase of artistic expression, then why do we not affirm the classic representative of Eastern abstract art – especially the natural and flowing semi-cursive script and the smooth, graceful, cursive script, which Chao’s drip line and Tachist style were undoubtedly based on?

Holding between an Idea and a Line Chao Chung-Hsiang’s Art Is Like this Concept

Article

Looking back upon the colorful concentric circles mentioned earlier, shapes like perfectly rounded colored spheres favored in 1996 can indeed lead to an association with the thick whirlpools of K. Noland and L. Fontana’s Buchi series, and A. Gottlieb’s Burst series. However, in terms of Chao’s Chinese symbolic ideas and views, it is better to go back to Chao’s Taoist belief that yearns for nature. As a result, this can be explained by the affiliation that is similar and closely related to Western notions. The large whirlpools can serve as the chaotic perspective after the Big Bang, while the concentric circles can be described as the trajectories and magnetic fields of celestial bodies. The spheres are nothing more than a reproduction of the ancient belief of “Heaven is round, Earth is square.” Starting with the thoughts of simulation that are put into allegorical forms, the reason that Chao is favored by Eastern and Western people is because he masters the universe prototype and the presence of humans. He skillfully incorporates reality and figurativism in his paintings, evoking the resonance of the projection of subjective and objective memories and emotions. Whether they are flowers and birds, mountains and rivers, or even human faces or candles, they are symbols with deep meaning that are not defined by being ancient, modern, Chinese, and Western. Admittedly, to Chinese people, Chao’s symbols even more so contain the identified attraction of "cultural totems”. Lotuses, bamboo, melons, vines, birds, and candles all embody eternal symbols of infinite vitality and festivity. His paintings are expressed through analogies and metaphors, so they get increasingly more interesting with each view. Hidden meanings can be found in every corner. For example, the birds that he loves to paint embody the ease and joy of H. Matisse, P. Picasso, J. Miro, G. Braque, and also contain the impressionistic styles of Shi Tao, Bada Shanren, and Lin Feng-Mian. His birds are the “mysterious birds of destiny”. They are the rocs of Chuang Tzu, the birds of gratitude, and possibly a symbol of the male body. Full of wit and humor, the symbols are far from the stereotypes. Chao’s art of Chinese and Western fusion does not just contain the modern West and the classical East. The different phases among his lifetime contain components of closely related contemporary Chinese modern artists interacting with each other, which also left remains from the process in forming his artworks. From his artistic travels across three continents, we can gain that “the massive sea can hold the water from thousands of rivers”, thereby resulting in a broad art structure. His competent painting skills form a world that runs through the ancient, modern, East, and West, interweaving between time and space. In addition to achieving his personal “self-perfect universe”, Chao has created a “mysterious spiritual paradise” for us.

趙春翔 CHAO Chung-Hsiang 一九一零∼一九九一年出生於中國河南

born in Henan, China, 1910~1991

早年隨父學畫，曾就讀於河南第一師範學校美術系， 1939 年畢

Chao Chung-Hsiang studied art from his father, later continued his studies at the

業於國立杭州藝專科藝術系。 1948 年移居台北，並擔任台灣省

Department of Art of Henan Teachers’ Normal School, and graduated from the

立師範學院（今為國立台灣師範大學）美術系副教授，同時任

Department of Art of the Hangzhou National College of Art in 1939. Chao came

教於台北政治作戰學校。 1955 年獲西班牙政府獎金，赴馬德里

back to Taipei in 1948 and served as Associate Professor of Arts at the Department

深造，並成為西班牙國家美術協會永久會員。於 1958 年赴美國紐約定居，認識了影響他一生的摯友—抽象表現主義大師克萊因（ Yves Klein, 1928-1962 ）。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，開拓中國繪畫現代化的新境界。曾於紐

of Fine Arts of Taiwan Provincial College of Education (now National Taiwan Normal University) and Fu Hsing Kang College. In 1955, he won a fellowship to study in Spain and went to Madrid for further studies, became a permanent member of the National Art Association of Spain. In 1958, he traveled to the United States and settled in New York where he met and was highly influenced by Abstract Expressionism painter Yves Klein (1928-1962). He managed to retain

約、倫敦、多倫多、上海、香港、新加坡等地展出。作品曾獲

the spirit of traditional Chinese ink painting and calligraphy, which he combined

大都會美術館、布魯克林美術館、北京中國美術館、上海美術

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

館、台北市立美術館及台灣國立美術館典藏。

“East Meets West” that has opened up a new realm for modern Chinese painting. His paintings have been exhibited in New York, London, Toronto, Shanghai, Hong Kong, Singapore, and other places. His artworks have been collected by the Metropolitan Museum of Art, Brooklyn Museum, the National Art Museum of China, Shanghai Art Museum, Taipei Fine Arts Museum, and the National Taiwan Museum of Fine Arts.

趙春翔｜ CHAO Chung-Hsiang

簡歷｜ Biography

年表 1939

畢業於國立杭州藝專科藝術系，杭州，中國

1940

參加「第一屆全國美展」並獲水彩人物畫展首獎，南京，中國

1941-47 在陜西就任職前軍委會西北青年營藝術系主任兼導師，中國 1951-55 執教於台灣省立師範學院（今為國立台灣師範大學）及政治作戰學校藝術系，台北，台灣 1957

成為西班牙國家美術協會永久會員，西班牙代表中國參加西班牙巴塞降納主辦十五國國際畫家聯展，巴塞隆納，西班牙參加巴西聖保羅美術館聯展，聖保羅，巴西

1959

作品由美國水彩協會展出並獲非會員特別獎，美國

1966

參加史丹福美術館聯展，康乃狄克州，美國

1967

參加現代畫廊聯展，紐約州，美國

1968

「世界現代名畫家聯展」，波士頓美術館，馬薩諸塞州，美國

1970

「趙春翔個展」，海明威畫廊，紐約州，美國「第一屆國際畫家大聯展」，紐約州，美國「五位當代中國畫家聯展」，華盛頓國際貨幣基金會，美國

1971

「趙春翔個展」，諾瓦克美術館，康乃狄克州，美國

1972

獲特別創作協會畫獎，紐約州，美國「趙春翔個展」，派瑞敘美術館，紐約州，美國

1973

「趙春翔個展」，沙克美術中心，紐約州，美國

1974

應以色列政府之邀，以 30 張巨幅作品參加該國所拍攝之「環球藝術面面觀」教育影片

1976

「趙春翔個展」，羅傑斯州立大學，紐澤西州，美國

1977

「趙春翔個展」，皇后美術館，紐約州，美國在皇后美術館講，紐約州，美國「趙春翔個展」，長島納賓美術館，紐約州，美國於長島納賓美術館講學，紐約州，美國

1980

「舊傳統、新方向：中華海外藝術家聯展」，國際精選藝術中心，紐約州，美國參加 80 年代畫廊聯展，多倫多，加拿大講學於紐約州州立大學總部，紐約州，美國

1981

「趙春翔個展」，中華文化大學美術館，台北，台灣「趙春翔個展」，布魯克林美術館，紐約州，美國

1984

「趙春翔個展」，台北市立美術館，台北，台灣

1985

「趙春翔個展」，藝倡畫廊，香港，英屬香港「現代中國畫，毛筆的抽象表現」和瑞藝術基金，倫敦，英國

1991

「趙春翔個展」，苗栗縣立文化中心，苗栗，台灣

1992

「趙春翔個展」，香港藝術中心，英屬香港

1993

「趙春翔個展」，誠品畫廊，台北，台灣「趙春翔：中西合一」，畫廊二十一，新加坡

1994

「趙春翔的藝術」，高費遠東藝術畫廊，倫敦，英國「趙春翔回顧展」，台灣美術館，台中，台灣

1995

「趙春翔個展」，諾的斯畫廊，新加坡「趙春翔個展」，帝門藝術中心，台北，台灣「抽象之美」，龍門畫廊，台北，台灣

1996-97 「環境－第二部份」，亞美藝術中心，紐約州，美國 1997

「執中用西－舊傳統道新方向」，新視覺畫廊，台中，台灣「五十年代－東方抽象繪畫的新視覺海外華人抽象繪畫的先驅」，新視覺畫廊，台中，台灣「情結 • 中國：海外華人藝術家作品聯展」，上海美術館，上海，中國

1998

「中國五千年文明藝術展」，紐約蘇豪古根漢美術館，紐約，美國

1999

「趙春翔精品展」，上海中國畫院，上海，中國

2000

「遺世絕俗 • 卓爾不群」，浙江西湖美術館，杭州，中國；香港藝術中心、藝倡畫廊，香港，中國；畫廊二十一，新加坡

2001

「趙春翔逝世十週年記念展」，藝倡畫廊，香港，中國

2004

「生命之光－永恆的追尋者趙春翔」，國立歷史博物館，台北，台灣

2006

「 20 世紀山水畫」，上海美術館，上海，中國

2007

「水墨在途： 2007 上海新水墨藝術大展」（第三屆上海水墨雙年展），朱屺瞻藝術館，上海，中國

2014

「遊子畫語－趙春翔」，香港蘇富比藝術空間，香港，中國

2015

「超驗與象徵－台灣新造形藝術展」，尊彩藝術中心，台北，台灣

典藏哥倫比亞大學，紐約州，美國康州諾瓦克美術館，康乃狄克州，美國紐約市紐約大學，紐約州，美國紐約皇后美術館，紐約州，美國大都會美術館，紐約州，美國赫遜河美術館，紐約州，美國塞兒羅素塞琪學院，紐約州，美國馬里蘭大學，馬里蘭州，美國魯克林美術館，紐約州，美國台北市立美術館，台北，台灣國立台灣美術館，台中，台灣北京中國美術館，北京，中國上海美術館，上海，中國浙江美術館，杭州，中國香港藝術館，香港，中國

CHRONOLOGY 1939 1940 1941-47 1951-55 1957

1959 1966 1967 1968 1970

1971 1972 1973 1974 1976 1977

1980

1981 1984 1985 1991 1992 1993 1994 1995

Graduated from the Department of Art of the Hangzhou National College of Art, Hangzhou, China Exhibited and awarded prize for watercolor figure painting at “The First National Exhibition of Fine Arts”, Nanjing, China Appointed Head of the Department of Fine Arts, Northwest China Training League, China Served as Associate Professor of Arts at the Department of Fine Arts of Taiwan Provincial College of Education (now National Taiwan Normal University) and Fu Hsing Kang College, Taipei, Taiwan Became a permanent member of the National Art Association of Spain, Spain Group exhibition, Galerías Layetanas, Barcelona, Spain Group exhibition, Museum of São Paulo, São Paulo, Brazil Won American Watercolor Society Non-Member Award, USA Group exhibition, Stamford Museum, Stamford, CT, USA Group exhibition, Contemporary Galleries, New York, NY, USA “Contemporary Paintings Show”, Museum of Fine Arts, Boston, MA, USA “Chao Chung-Hsiang’s Solo Exhibition”, Hemingway Gallery, New York, NY, USA “The First International Art Show”, New York, NY, USA “Contemporary Chinese Artists Group Exhibition”, International Monetary Fund, Washington, DC, USA “Chao Chung-Hsiang’s Solo Exhibition”, Norwalk Museum, Norwalk, CT, USA Won the Creative Artists Public Service Program Award, NY, USA “Chao Chung-Hsiang’s Solo Exhibition”, Parrish Museum, Southampton, NY, USA “Chao Chung-Hsiang’s Solo Exhibition”, Russell Sage College, Troy, NY, USA Selected by the Israeli Government to submit 30 works to appear in its educational film “Art Around the World” “Chao Chung-Hsiang’s Solo Exhibition”, Rutgers University, New Brunswick, NJ, USA “Chao Chung-Hsiang’s Solo Exhibition”, Queens Museum of Art, Queens, NY, USA Lectured at the Queens Museum of Art, Queens, NY, USA “Chao Chung-Hsiang’s Solo Exhibition”, Nassau County Museum of Art, Roslyn, NY, USA Lectured at the Nassau County Museum of Art, Roslyn, NY, USA “Ancient Heritage New Directions”, Alternative Center for International Art, New York, NY, USA Group exhibition, Gallery 80, Toronto, Canada Lectured at New York State University, Albany, NY, USA “Chao Chung-Hsiang’s Solo Exhibition”, Chinese Culture University Museum, Taipei, Taiwan “Chao Chung-Hsiang’s Solo Exhibition”, Brooklyn Museum, New York, NY, USA “Chao Chung-Hsiang’s Solo Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan “Chao Chung-Hsiang’s Solo Exhibition”, Alisan Fine Arts, British Hong Kong “Modern Chinese Paintings, Abstract Expression of the Brush”, Warwick Arts Trust, London, UK “Chao Chung-Hsiang’s Solo Exhibition”, Miaoli Cultural Centre, Miaoli, Taiwan “Chao Chung-Hsiang’s Solo Exhibition”, Hong Kong Arts Centre, British Hong Kong “Chao Chung-Hsiang’s Solo Exhibition”, Eslite Gallery, Taipei, Taiwan “Chao Chung-Hsiang: East-West Synthesis”, Gallery 21, Singapore “The Art of Chao Chung-Hsiang”, Godfrey Far Eastern Art, London, UK “Retrospective Exhibition of Chao Chung-Hsiang”, Taiwan Museum of Art, Taichung, Taiwan “Chao Chung-Hsiang’s Solo Exhibition”, Notices Gallery, Singapore

趙春翔｜ CHAO Chung-Hsiang

簡歷｜ Biography

“Chao Chung-Hsiang’s Solo Exhibition”, Dimensions Art Center, Taipei, Taiwan “Beauty of Abstract Paintings”, Lung Men Gallery, Taipei, Taiwan 1996-97 “Milieu – Part II”, Asian American Arts Center, New York, NY, USA “Chinese Roots: Western Approach”, New Vision Gallery, Taichung, Taiwan 1997 “The Fifties – New Visions of Eastern Abstraction in Paintings by Artists of the Chinese Diaspora”, New Vision Gallery, Taichung, Taiwan “Chinese Roots: Works from Mainland and Chinese Overseas Artists”, Shanghai Art Museum, Shanghai, China “China 5,000 Years – Innovation and Transformation in the Arts”, Guggenheim Museum, New York, NY, USA 1998 “Chao Chung-Hsiang’s Paintings – A Selection”, Chinese Painting Academy, Shanghai, China 1999 “Chao Chung-Hsiang’s Paintings”, Westlake Art Museum of the Jiejiang Provincial Museum, Hangzhou, China; Hong Kong Arts Centre, 2000 Alisan Fine Arts, Hong Kong, China; Club 21 Gallery at the Four Seasons, Singapore “Beyond the Millenium: Paintings by the Contemporary Master Chao Chung-Hsiang”, Alisan Fine Arts, Hong Kong, China 2001 “Love of the Cosmos: The Art of Chao Chung-Hsiang”, National Museum of History, Taipei, Taiwan 2004 “20th Century Chinese Landscape Painting”, Shanghai Art Museum, Shanghai, China 2006 “Exploration: New Ink Art Shanghai” (The 3rd Shanghai Ink Biennial), Zhu Qizhan Art Museum, Shanghai, China 2007 “The Odyssey of a Master: Chao Chung-Hsiang”, Sotheby’s Hong Kong Gallery, Hong Kong, China 2014 “Transcendence and Symbol: The Exhibition of Neoplastic Art in Taiwan”, Liang Gallery, Taipei, Taiwan 2015

COLLECTIONS Columbia University, New York, NY, USA Norwalk Museum, Norwalk, CT, USA New York University, New York, NY, USA Queens Museum, New York, NY, USA Metropolitan Museum of Art, New York, NY, USA Hudson River Museum, Yonkers, NY, USA Russell Sage College, Troy, NY, USA University of Maryland, Baltimore, MD, USA Brooklyn Museum, New York, NY, USA Taipei Fine Arts Museum, Taipei, Taiwan National Taiwan Museum of Fine Arts, Taichung, Taiwan National Art Museum of China, Beijing, China Shanghai Art Museum, Shanghai, China Zhejiang Art Museum, Hangzhou, China Hong Kong Museum of Art, Hong Kong, China

窮途或新徑？─楚戈有關「現代中國畫」之論述與意義建構

評論

窮途或新徑？

一九五、六○年代，正是戰後台灣文化自危機中尋求轉化、

楚戈有關「現代中國畫」之論述與意義建構

思潮的衝擊下開始正面迎向「現代化」，並在「中國 / 西

自衝突中尋求對話最重要之時期，國畫在西方西代藝術方」、「傳統 / 現代」的二元對話關係中尋找中國畫的現 2

代前途，最終並發展出所謂的「現代水墨」，可謂積累台灣在地經驗、具有台灣特殊文化身份的一種結果。「現代水墨」的產生，來自於以歐美抽象表現主義作為主要形

文

白適銘

國立台灣師範大學美術學系教授

式變革依據的「現代繪畫運動」，對戰後台灣藝壇所造成 3

的衝擊與影響甚為深遠，然而，卻急速引來傳統藝術的擁護者極大的攻訐與反撲。新、舊水墨「正統性」或「文化主權」之論爭，較之於稍早的「正統國畫論爭」之激烈程度，實難分軒輊。傳統擁護者對新興「現代水墨畫」對已進入「壽終正寢」的西方抽象藝術囫圇吞棗之迷失、對「中西並用」的一廂情願不 4

予苟同之激烈立場。不論孰是孰非，新、舊水墨畫之間所形成之壁壘分明，說明了戰後台灣外在文化環境上的矛盾與糾葛，而此種有關「正統性」或「文化主權」爭奪之戰的展開，更可以說是來自閉塞的政治現況與國族主義思想箝制之直接結果。此種現代文化建構上之衝突，透過「中國畫往何處去？」─亦即中國畫「現代化」的議題論爭，已遠遠超過民初時期的西化改革論或一九五○年代以來「正統國畫論爭」之知識規模與論述框架，而徹底被解構，逐漸走向文化主體認同探索的巨大轉變。楚戈對「現代中國畫」論爭之參與，自初期的定義探討，逐漸轉向有關「現代中國畫」前途的擘劃，最後並形成其深具宏觀歷史視野的文化論述。一九六三年，他說：近年來我們台灣的國畫最大的危機便是因襲成風，自相囿限，以「上追宋元」或「自某家入手」並相標榜，沾沾自喜。殊不知這不過是自欺欺人的行徑………我稱此類國畫為偽國畫，因其以他人的看法為看法，竊取他人的感情為自己的感情也。

除了反對國畫的因襲之外，呈現濃烈的追求藝術家自主意志與保有自我的「現代性」之意圖。不過，楚戈此種深具時代前瞻意義的觀念，並非完全抹煞傳統藝術的價值，他認為中國畫具有自身獨特的文化特質，透過對古代藝術特性進行現代意義之演繹與串聯，古與今之矛盾自可消失於 16

無形。在其理論架構中，古、今、中、外與畫家之「自我」成為相互協調之一體，藝術應該超越有形物體，不再具有抽象與具象之形式界限，故而可以獲得永恆之「真性」─ 純粹之藝術特質，而「現代中國畫」則應該是具備超越地域、時間、種族、文化藩籬的的跨界文化載體。

一九七三年，亦即在回應國畫「現代化」之議題已然渡過第十年之際，楚戈開始進行總結式的回顧，顯示其對此問題未來發展的宏圖大願。他除了一再回顧戰後台灣現代繪畫興起的來龍去脈並建構其「歷史」之外，並引用劉國松的言論：「六十年代，抽象的旗幟已普遍的樹立於每一自由國家之藝壇上。其本身所代表的強有力的象徵：就是自 7

由」，對劉氏等人在「新傳統之塑造」問題上的努力表示贊同。另一方面，也對畫壇上「具有創造性的水墨畫家愈來愈多」的現象表示欣喜，並希望當時的年輕畫家能創造出屬於這一代的「現代中國畫」，以完成「重建中國繪 8

畫史的歷史使命」。此種說法，象徵其將「現代中國畫」視為中國畫史的一部分，或者換句話說，「現代中國畫」才是中國傳統繪畫在「現代」的正統，藉以凸顯「中國畫」的現代身分價值與歷史化建構性之意義。透過對楚戈有關戰後台灣藝術界在「國畫現代化」等問題上的論辯回應，可以知道，自一九六三年起，在反對「因襲成風，自相囿限」的傳統守舊作風之立場上，開啟其對「何謂現代中國畫」定義詮釋的最初關心。其次，透過對中、西藝術歷史及本質異同之釐清，他提出的「中、西無差別論」之說法，開啟其朝向更具包容性、超越性思維之序幕，同時，藉由此種過程，他發現中國畫現代化藝術創作必須迎向世界─亦即必須具有「世界性」─的重要，顯示其將現代中國畫納入世界版圖、逃脫傳統歷史桎梏之束縛，為中國畫迎向國際鋪陳出一條可能發展之新徑。

窮途或新徑？─楚戈有關「現代中國畫」之論述與意義建構

評論

蕭瓊瑞，〈「現代水墨畫」在戰後台灣的生成、開展與反省〉，《島與色彩─台灣美術史論》（台北市：東大圖書公司， 1997 ），頁 154 。

有關「現代水墨」之定義，請參考蕭瓊瑞，〈台灣現代水墨的類型分析─以台北市立美術館藏品為對象〉，《現代美術》，第 143 期（ 2009 ），頁 50-51 。

根據蕭瓊瑞教授的分期，「現代水墨」所屬的「現代繪畫運動」時期約展開於

1957 年至 1966 年之間。參閱氏著，〈撞擊與生發 ─ 戰後台灣現代藝術的發展 (1945-1987) 〉，收入林明賢編，《撞擊與生發─戰後台灣現代藝術的發展 (19451987) 》（台中市：國立台灣美術館， 2005 ），頁 22 。 4

汪澄，〈斬斷還是繼承？─從中國水墨畫傳統談到「現代水墨畫」〉，《雄獅美術》，第 78 期 (1977) ，頁 55-72 。

楚戈，〈沉悶畫壇的提神者─看陳丹誠的畫展〉，收入楚戈著，《視覺生活》（台北市：台灣商務印書館，1968 年初版），頁 141 。該文原刊於 1963 年 9 月 5 日之《聯合報》。

楚戈，〈創造與立意─評介何懷碩的山水畫〉，收入楚戈著，《視覺生活》（前引書），頁 145 。該文完成於 1964 年 10 月 5 日。

楚戈，〈二十年來之中國繪畫〉，收入楚戈著，《視覺生活》（前引書），頁

17 。該文原刊登於 1973 年 10 月的《人與社會雜誌》。 8

同上註，頁 21-22 。

A Dead End or a New Path? ─ Chu Ko’s Discourse on the “Modern Chinese Painting” and Its Construction

A Dead End or a New Path? Chu Ko’s Discourse on the “Modern Chinese Painting” and Its Construction Text by

Pai Shih-Ming

Professor of the Department of the Fine Arts, National Taiwan Normal University

Article

Following the war in the 1950s and 1960s, Taiwanese culture found itself at a turning point from a state of crisis during a critical period where dialogue was being sought from a period of conflict.1 Bombarded by ideological trends of Western modern art, traditional Chinese Painting started to confront concepts of “modernization” in a positive light, and began searching for the future of traditional Chinese painting within the dialectical relationships of “Chinese/ Western” and “Traditional/Modern”. And lastly, such a process developed the so-called “Modern Ink Painting” 2 , which could be said is a result from the accumulation of local Taiwanese experiences and a unique Taiwanese cultural identity. “Modern Ink Painting” was fabricated from European and American abstract impressionism as a main form, which then transformed into the “Movement for Modern Painting”. Its impact and influence on the postwar art scene in Taiwan has been very profound and long lasting.3 However, such movement rapidly attracted massive amounts of criticisms from supporters of traditional art. Compared to the intensity of the earlier “debate over the orthodoxy of national painting”, the debate between “orthodoxy” and “cultural sovereignty” of new and old ink painting shared little distinction. Regarding the emergence of “modern ink painting”, advocates of tradition have become lost due to the devouring of Western abstract art. They were in intense disagreement with the concept of “juxtaposing East and West.4 Regardless of its merits, the barriers formed between new and old ink painting clearly illustrates the contradictions and disputes in the external cultural environment of post-war Taiwan. And, the start of the contention between “orthodoxy” and “cultural sovereignty” can be said to be a direct result of the current state of political occlusion and nationalist suppression. Through the question of “Where is traditional Chinese painting going?” – that is the debate regarding the “modernization” of traditional Chinese painting, such conflicts on the construction of modern culture have far exceeded the scale of knowledge and framework of discourse from the Western reformation of the early Republic period or the “debate over the orthodoxy of national painting” from the 1950s. Thoroughly deconstructed, it has gradually shifted to vast transformations in the search for a main cultural identity. Regarding participation in the debate over “Modern Chinese painting”, Chu Ko’s exploration for an initial definition gradually shifted towards a plan for the future of “ modern Chinese painting.” In the end, he formed a cultural discourse with an in-depth, macro-historical vision. In 1963, he said: In recent years, the greatest danger to Taiwan’s national painting lies in its constraints and inability to reinvent itself. It has become complacent with the concepts of “pursuing Song and Yuan Dynasty elements” or “learning from certain schools”. Little is it known that this is nothing but a path of self-deception… I call this type of

national painting as a “pseudo national painting.” Due to using the perspectives of others as their own, they steal the feelings of others for their own. 5

In addition to opposing Chinese painting’s practice of following conventions, this manifests the intention of the fierce pursuit of the artist’s autonomy and retention of self-"modernity". However, Chu’s concept that had prescient significance to an era did not totally obliterate the value of traditional art. He believed that Chinese painting has its own unique cultural characteristics. Through the deducting and connecting of modern meaning in characteristics of ancient art, the contradiction between ancient and present may disappear. In that theoretical framework, the ancient, present, Chinese, and foreign have become one of mutual coordination with the “selves” of artists. Art should go beyond the tangible objects, and not be limited by abstract and figurative boundaries. Therefore, art can obtain eternal "authenticity” – a pure artistic quality. “Modern Chinese painting” should be a cross-cultural carrier that transcends the barriers of region, time, ethnicity, and culture. 6 1973 marked the tenth year of response to the issue of the “modernization” of Chinese painting. Chu began to conduct a summative retrospection, exhibiting his great desire for the future development of this issue. In addition to recalling again the circumstances surrounding the rise of modern painting in postwar Taiwan, and constructing its “history”, Chu cited Liu Kuo-Sung's comment, “In the 60s, the flags of abstract were prevalently set on the art scenes of every free country. The strong symbol it represented was freedom.” 7 This is an approval of the efforts that Liu and others put on the issues of “shaping of new traditions”. On the other hand, this is also an expression of joy at the phenomenon of “more and more ink wash painters with creativity” in the painting scene, as well as a hope that young painters can create “modern Chinese paintings” that belong to this era to complete “the historical mission of reconstructing the history of Chinese painting”. 8 Such an interpretation alludes to the notion that modern Chinese painting is part of Chinese art history. In other words, modern Chinese painting is the true heir of modernism in Chinese art, thus emphasizing a modern identity and historical lineage of Chinese painting. From Chu Ko’s response to the debate revolving around “the modernization of Traditional Chinese Painting” in postwar Taiwan, we can deduce that, since 1963, Ko began to question the conservative approach to art and started to define what modern Traditional Chinese Painting should be. By gaining a better understanding of the historical and intrinsic differences between Chinese and Western art, Ko was able to propose the theory that stated “Chinese and Western art are inherently the same.” This was a much more inclusive perspective. At the same time, he realized that worldliness was pivotal to the modernization of Traditional Chinese painting. By doing so, Traditional Chinese painting

A Dead End or a New Path? ─ Chu Ko’s Discourse on the “Modern Chinese Painting” and Its Construction

Article

becomes part of the global art scene and is freed from the shackles of history, creating a viable path of development for the art form in a globalized world.

Hsiao Chong-Ray “Reflections on the Birth and Development of ‘Modern Ink Painting’ in Postwar Taiwan”, Island of Color – The Art History of Taiwan (Taipei: East Book Company, 1997), Page 154.

Regarding the def inition of “Modern Ink Painting”, please refer to Hsiao, ChongRay, “Analysis on the Types of Modern Ink Painting in Taiwan – A Case Study on the Collections of Taipei Fine Arts Museum”, Modern Art , # 143 (2009), Pages 50-51.

According to Professor Hsiao Chong-Ray, “Modern ink” belonging to the "Modern Painting Movement" period approximately began between 1957-1966. See Shi Chu, “ Collision and Action: The Development of Modern Art in Post-war Taiwan (1945-1987) ” edited by Lin

Ming-Shian, “Collision and Action: The Development of Modern Art in Post-war Taiwan (1945-1987)” (Taichung City: National Taiwan Museum of Fine Arts, 2005), Page 22. 4

Wang Cheng, To Continue or Not? From Traditional Chinese Painting to Modern Ink Wash Painting , Lion Art, Issue 78, Page 55-72.

Chu Ko, “Instigator in A Stymied Art Scene – A Review of Chen Dan-Cheng’s Exhibition”, Visual Life (Taipei: The Commercial Press, Ltd., first published in 1968), Page 14. Article

published on October 5, 1964. Article was initially published in the United Daily News on Sept. 5, 1963. 6

Chu Ko, “Creation and Conception - An Art Critique on He Huaishuo’s Landscape Painting”, Visual Life , Page 145. Article published on October 5, 1964.

Chu Ko, “Chinese Painting of the Past Two Decades”, Visual Life , Page 17. Article published in October, 1973.

Chu Ko, “Chinese Painting of the Past Two Decades” , Visual Life , Pages 21-22. Article published in October, 1973.

楚戈 CHU Ko 一九三一∼二零一一年出生於中國湖南

born in Hunan, China, 1931~2011

本名袁德星，是台灣藝文界的一個傳奇—在台灣現代藝壇上幾

Chu Ko was a central figure in Taiwan's modern art movement as a poet, art

乎很難找到像他一樣集文學、評論、研究、創作於一身的重要

critic, painter and sculptor. At a young age, Chu was already well-known in the art

人物。楚戈年輕時參與台灣現代詩、畫運動，寫現代詩、寫散

community in Taiwan mainly because of his intelligence and talent of self-studying.

文，並在報章雜誌上頻繁地發表藝術評論，他下筆既快又利，

He participated in the modern poetry and painting movements in Taiwan, and

褒貶不講情面，楚戈的筆名因此聞名遐邇，令藝壇人士又愛又

wrote modern poetry as well as prose, and frequently published his works in

恨。 35 歲時，楚戈進入故宮博物院器物處工作，經過 30 年的研究淬礪，成為國內知名的青銅器專家，並以個人之力出版了《中華歷史文物》、《龍史》等重要的古美術鉅著。 50 歲之後

newspapers and magazines on art criticism. When 35 years old, Chu started working at the National Palace Museum. He spent over thirty years researching works of bronze, and published important studies of ancient art, such as Chinese Historical Art Treasures, History of the Dragon, and others. Chu Ko was interested

楚戈專注潛心藝術創作，他源源不絕、自由不受羈絆的創作力，

in painting and calligraphy, and became very much devoted to artistic creation after

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

he reached 50 years of age. His works were abundant and stunning in style that

肯定，使他成為台灣現代最重要的畫家之一。

made him become one of the most important Taiwanese modern artists.

楚戈｜ CHU Ko

簡歷｜ Biography

年表 1947

就讀於汨羅中學，湖南，中國

1957

參與新詩現代派運動，並採用「楚戈」作為筆名，台北，台灣

1958

參加新文學現代派詩社，台北，台灣

1962

受邀擔任「獅子吼雜誌」主編，台北，台灣

1966

就讀於台灣藝術專科學校（今國立台灣藝術大學）夜間部，台北，台灣出版詩集「青果」，並自繪內頁插圖，台北，台灣

1967

受邀至中國文化學院（今中國文化大學）擔任「藝術概論」和「中國文化概論」講師，台北，台灣

1968

「楚戈、李錫奇聯展」，台北，台灣至故宮博物院器物處工作，台北，台灣在幼獅文藝雜誌連載「中國藝術之回顧」，以散文和詩介紹古代美術，台北，台灣

1970

「中國現代畫展」，美國

1971

策劃「第一屆台北當代藝術家陶瓷展」，台北，台灣於《中華文藝復興月刊》連載〈中國美術通史〉，台灣

1972

「中國當代作家書畫展」，台北，台灣

1974

「中國現代繪畫展」，上野美術館，東京，日本

1976

與亞弦、商禽、辛鬱等人赴韓國文人協會訪問，韓國出版《中華歷史文物》，台灣

1978

為國立故宮博物院策劃「文物與歷史特展」，台北，台灣

1979

於版畫家畫廊舉行個展，台北，台灣《花季》，獲韓國現代美術館收藏，韓國

1981

赴香港大學設計學院講學，英屬香港

1983

「水墨陶瓷版畫個展」，香港藝術中心，英屬香港於龍門畫廊舉行個展，台北，台灣出版詩畫集《散步的山巒》，台灣「中國現代美展」，首爾，韓國

1985

擔任私立東海大學美術系教授，台中，台灣獲「國際作家工作室」邀請至愛荷華大學訪問，美國耶魯大學邀請演講「中國水墨畫的思想背景」，美國柏克萊大學邀請演講「龍與中國性崇拜」，美國

1986

「中國傳統繪畫之新潮流」，台北，台灣，凡爾賽，法國「第二屆中韓現代繪畫交流展」，首爾，韓國「中華民國水墨抽象畫展」，台北市立美術館，台北，台灣「台北現代畫 1986 香港大展」，香港藝術中心，英屬香港出版藝術評論集《審美生活》，台灣

1987

「中華民國現代繪畫新貌」，國立歷史博物館，台北，台灣「第二屆亞洲美術展覽會」，國立歷史博物館，台北，台灣「台灣水墨畫家七人展」，布魯塞爾，比利時「楚戈、席慕蓉、蔣勳山水聯展」，台北，台灣「中國現代水墨畫聯展」，巴黎，法國；舊金山，美國

1988

「中華民國當代藝術創作展」，國立歷史博物館，台北，台灣「奧林匹克世界運動會國際美展」，首爾，韓國「第三屆亞洲國際美術展覽」，國立歷史博物館，台北，台灣出版《龍史》，台灣

1989

於傑克巴荷遠東藝術畫廊舉行個展，巴黎，法國「第四屆亞洲國際美術展覽」，國立歷史博物館，台北，台灣「向畢卡索致敬展」，台北市立美術館，台北，台灣

1990

於首修藝術文化中心舉行個展，法國「生命之色彩展」，巴黎國家圖書館，巴黎，法國「第五屆亞洲國際美術展覽」，國立歷史博物館，台北，台灣「韓、中－現代水墨畫展」，台北，台灣；首爾，韓國

1991

「楚戈的深情世界－楚戈 60 回顧展」，台北市立美術館，台北，台灣「楚戈．再生的火鳥」，藝昌畫廊，英屬香港「花季－楚戈、席慕蓉、蔣勳聯展」，清韻畫廊，台北，台灣

1992

「奧林匹克世界運動會國際美展」，巴塞隆納，西班牙《剎那與永恆》，獲瑞士奧運博物館收藏，瑞士

1993

於馬里蘭大學美術館舉行個展，美國「楚戈招待展」，韓國

1994

「線于無限－楚戈近作展」，香港科技大學，英屬香港

1995

「楚戈觀想結構展」，台灣省立美術館（今國立台灣美術館），台中，台灣

1997

「楚戈結情作品展」，國立歷史博物館，台北，台灣

1998

於香港藝術中心舉行個展，香港，中國

1999

於舊金山文化中心、加州大學戴維斯分校舉行個展，舊金山、戴維斯，美國「國際雕刻公園創作展」，韓國

2000

「新世紀兩岸水墨對話畫展」，上海，中國「亞細亞水墨畫三人展」，京都，日本「秋季沙龍展」，巴黎，法國

2002

「人間漫步－楚戈 2003 創作大展」，國父紀念館，台北，台灣

2003

於劉海粟美術館舉行個展，上海，中國

2004

「繩子與手套的對話」，國立歷史博物館，台北，台灣「 MANIF 國際藝術展」，首爾，韓國

2005

「現代水墨畫會中國巡迴展」，中國

2006

「迴流－楚戈現代水墨大展」，湖南省博物館，長沙，中國「水墨變相－現代水墨在台灣」，台北市立美術館，台北，台灣

2007

於台北 99 °藝術中心舉行個展，台北，台灣「楚戈畫展」，國立成功大學，台南，台灣「是偶然也是必然－楚戈油彩畫個展」，名山藝術，台北，台灣「現代水墨六大家聯展」，中原大學，中壢，台灣「水墨新貌－現代水墨聯展」，香港，中國

2008

「楚戈詩畫展」，板橋林本源園邸，新北市，台灣

2009

「創作就是要好玩－楚戈藝術大展」，國立交通大學藝文中心，新竹，台灣

2011

3 月 1 日，病逝於台北，享壽八十歲

2013

「台灣 50 現代畫展」，築空間，台北，台灣

2014

「火鳥傳奇－楚戈創作巡回展」，台灣創價學會，台南、彰化，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

2015

「超驗與象徵－台灣新造形藝術展」，尊彩藝術中心，台北，台灣

CHRONOLOGY 1947 1957 1958 1962 1966 1967 1968

1970 1971 1972 1974 1976 1978 1979 1981 1983

1985

Enrolled in Miho High School, Hunan, China Participated in the Modernist Poetry Movement, started using Chu Ko as his pseudonym, Taipei, Taiwan Participated in the New Modernist Poetry Group, Taipei, Taiwan Editor of “Idiom Magazine”, Taipei, Taiwan Enrolled in National Taiwan College of Arts (now National Taiwan University of Arts), Taipei, Taiwan Published first poetry collection “Unripe Fruit” with self-drawn illustrations, Taipei, Taiwan Gave lectures on “Introduction to Art” and “Introduction to Chinese Culture”, College of Chinese Culture (now Chinese Culture University), Taipei, Taiwan “Chu Ko and Lee Shi-Chi Exhibition”, Taipei, Taiwan Started working at the National Palace Museum, Taipei, Taiwan Published “Review of Chinese Art” in the literary magazines, Taipei, Taiwan “Exhibition of Modern Chinese Art”, USA Curated “The 1st Modern Ceramics Exhibition”, Taipei, Taiwan Published “Comprehensive History of Chinese Fine Arts” in Chinese Literary Renaissance Monthly, Taiwan “Exhibition of Chinese Paintings and Calligraphy of Modern Writers”, Taipei, Taiwan “Exhibition of Modern Chinese Paintings”, Ueno Royal Museum, Tokyo, Japan Together with Ya Xian, Shang Chin, Xin Yu and others went to visit Korean Scholars Association, Korea Published “Chinese Historical and Cultural Heritage”, Taiwan Curated “Heritage and History Exhibition” at the National Palace Museum, Taipei, Taiwan Solo exhibition, Printmaker’s Art Gallery, Taipei, Taiwan Youth collected by the National Museum of Modern and Contemporary Art, Korea Lectured at the School of Design of the University of Hong Kong, British Hong Kong “Ceramic Ink Prints Exhibition”, Hong Kong Arts Center, British Hong Kong Solo exhibition, Lung Men Art Gallery, Taipei, Taiwan Published poetry collection “Walking in the Mountains”, Taiwan “Exhibition of Modern Chinese Art”, Seoul, Korea Professor of the Department of Fine Arts at Tunghai University, Taichung, Taiwan

楚戈｜ CHU Ko

1986

1987

1988

1989

1990

1991

1992 1993 1994 1995 1997 1998 1999 2000

2002 2003 2004 2005 2006 2007

2008 2009 2011 2013 2014 2015

簡歷｜ Biography

Was invited to visit the University of Iowa by the “International Writer’s Workshop”, Iowa, USA Gave lectures on “Ideological Background of Chinese Ink Painting”, Yale University, New Haven, USA Gave lectures on “Worshiping Dragon and China”, University of California, Berkeley, USA “New Trends in Chinese Traditional Painting”, Taipei, Taiwan; Versailles, France “The 2nd Chinese and Korean Modern Painting Exhibition”, Seoul, Korea “Abstract Ink Painting in the Republic of China”, Taipei Fine Arts Museum, Taipei, Taiwan “Taipei Modern Art 1986 Exhibition”, Hong Kong Arts Center, British Hong Kong Published essays collection “The Aesthetics of Everyday Life”, Taiwan “The New Look of Chinese Modern Art”, National Museum of History, Taipei, Taiwan “The 2nd Asian International Art Exhibition”, National Museum of History, Taipei, Taiwan “Exhibition of Seven Taiwanese Ink Painters”, Brussels, Belgium “Exhibition of Landscapes by Chu Ko, Xi Mu-Rong, Chiang Hsun”, Taipei, Taiwan “Exhibition of Modern Chinese Ink Paintings”, Paris, France; San Francisco, USA “Modern Chinese Art Exhibition”, National Museum of History, Taipei, Taiwan “Olympic Games International Exhibition”, Seoul, Korea “The 3rd Asian International Art Exhibition”, National Museum of History, Taipei, Taiwan Published “Long Shi”, Taiwan Solo exhibition, Jacques Barrere – Art D’Extreme Orient, Paris, France “The 4th Asian International Art Exhibition”, National Museum of History, Taipei, Taiwan “Tribute to Picasso: Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan Solo exhibition, Arts and Culture Center, France “Colors of Life”, National Library, Paris, France “The 5th Asian International Art Exhibition”, National Museum of History, Taipei, Taiwan “Korea, China – Modern Ink Painting Exhibition”, Taipei, Taiwan; Seoul, Korea “A World of Feelings – A Retrospective”, Taipei Fine Arts Museum, Taipei, Taiwan “A Man for All Seasons: Chu Ko”, Alisan Fine Arts, British Hong Kong “Youth – Exhibition of Chu Ko, Xi Mu-Rong, Chiang Hsun”, Qing Yung Gallery, Taipei, Taiwan “Olympic Games International Exhibition”, Barcelona, Spain Moment and Eternity collected by the Olympic Museum, Switzerland Solo exhibition, University of Maryland Art Gallery, College Park, USA “Exhibition by Chu Ko”, Korea “The Ceaseless Line: Recent Works by Chu Ko”, Hong Kong University of Science and Technology, British Hong Kong “Contemplating Structure”, Taiwan Provincial Museum of Fine Arts (now National Taiwan Museum of Fine Arts), Taichung, Taiwan “Ties of Affection”, National Museum of History, Taipei, Taiwan Solo exhibition, Hong Kong Arts Center, Hong Hong, China Solo exhibition, San Francisco Cultural Center, San Francisco; University of California, Davis, USA “International Sculpture Park Art Exhibition”, Korea “New Century of Cross-strait Chinese Ink Painting Exhibition”, Shanghai, China “Asian Ink Paintings Exhibition”, Kyoto, Japan “Autumn Salon”, Paris, France “Sauntering Through the Human World – An Exhibit of Works by Chu Ko”, National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Solo exhibition, Liu Hai Su Art Museum, Shanghai, China “The Rope and Gloves Dialogue”, National Museum of History, Taipei, Taiwan “MANIF”, Seoul, Korea “Modern Chinese Ink Painting Touring Exhibition”, China “Reflux – Modern Ink Painting Exhibition of Chu Ko”, Hunan Provincial Museum, Changsha, China “Ink Transformation – Modern Ink Painting”, Taipei Fine Arts Museum, Taipei, Taiwan Solo exhibition, Degree Art Center, Taipei, Taiwan “Chu Ko Solo Exhibition”, National Cheng Kung University, Tainan, Taiwan “Chu Ko Oil Paintings Exhibition”, Mingshan Art, Taipei, Taiwan “Modern Ink Painting – Group Exhibition of Six Artists”, Chung Yuan Christian University, Chungli, Taiwan “New Ink Painting – Modern Ink Painting Exhibition”, Hong Kong, China “Chu Ko Poetry Exhibition”, Lin Family Mansion and Garden, New Taipei City, Taiwan “Artistic Creation Must Have Fun – Solo Exhibition of Chu Ko’s Art”, National Chiao Tung University Arts Center, Hsinchu, Taiwan Passed away on March 1st, Taipei, Taiwan “Taiwan 50 – Modern Art Exhibition”, Arki Galeria, Taipei, Taiwan “Legend of the Firebird – A Touring Exhibition of Chu Ko’s Artworks”, Taiwan Soka Association, Tainan, Changhua, Taiwan “Abstract / Symbol / Oriental – Exhibition of Taiwan's Masters of Modern Art", Liang Gallery, Taipei, Taiwan “Transcendence and Symbol: The Exhibition of Neoplastic Art in Taiwan”, Liang Gallery, Taipei, Taiwan

白色的魅力與震撼—林壽宇藝術之美

評論

白色的魅力與震撼

看了林壽宇的畫，自內心激起一股莫名的感動與震憾，是

林壽宇藝術之美

林壽宇的排斥一切自然形象，而以純粹幾何造形譜成的畫

年來國內難得見到的具國際水準的畫展。不過我也很擔心他的畫在國內很不容易被瞭解，因為他的繪畫不屬於自然形象的表現，在國內看慣了自然再現的藝術觀眾，當面對面，使人無從連想起日常生活的視覺經驗，進而對畫面產生感情與幻覺。不過，我可以肯定地說，林壽宇的繪畫比

文

王秀雄

自然再現的藝術更來得真實，簡直把色彩與造形的美，在其固有的特性裏發揮得淋漓盡致，令人純粹地體會那律動

國立台灣師範大學美術系暨美術研究所名譽教授

與白色所蘊含的純粹美。

自然界的真實不同於藝術世界的真實自然再現的藝術是一種假像，是藉自然的形象在畫面造成一種似真而假的幻覺（ Illusion ），使人在他的心裏依畫意組織起日常生活的視覺經驗，然後進行種種感情的活動。故，這一種自然再現的藝術是全部依靠自然形象來成立的，它本身非獨立完善的世界。與此較之，那一切排斥自然再現的抽象藝術，是純粹的以形體和白色固有的性質來抒發它的真音，不必依靠外界的種種要素。因此它在藝術世界裏，是獨立完善的小宇宙，是比自然再現的藝術來得更真實。欲了解抽象藝術之美，筆者想以一則比喻來說明。當兩個中國人聽到法國人在講法文時，甲是能聽懂法文，所以他的注意力往往被其語言所含蘊的意義所吸引，想了解這一位法國人所講的內容。相反的，不了解法語的乙，則不會注意其意涵，此時反而可以充分體念出其語調和聲音之美。同理，繪畫的形和色彩，若依賴自然形象而成立的話，則觀眾的注意力就立刻被熟悉的自然形象所奪走，在那兒想尋找出自然形象所象徵的內涵，哪裏能體會到純粹造形和色彩之美？惟有排斥自然形象等一切外來的他律性要素，也捨棄作者主觀的筆觸，此時那純粹幾何抽象和色彩之美才能淋漓盡致的被發揮出來。猶如色面畫家紐曼 (B. Newman) 所云：「繪畫是像一個人一樣的，有它獨特的性格。當我要聽它的真音時，我必須不干擾它，也必須除去外界的影響要素，此時它才能吐露其真音。」

以最簡單的要素表現最大的效果一個富於創造的藝術家，是善於吸取前人的養料，把它消化殆盡，從中創造出獨特的藝術風貌。如文藝復興的大師拉斐爾（ Raphael ），把達文西（ L. da Vinci ）的叡智美、米開蘭基羅（ Michelangelo ）的素描、威尼斯畫派的色彩溶為一爐，開創了理想化的優雅美。林壽宇以前是從事具象藝術創作的，然而在一九五 ○ 年代接觸了行動繪畫（ Action-Painting ）以後，毅然地放棄熟稔的具象繪畫，而向抽象藝術裏鑽研。他從行動繪畫學習到了純粹色彩的力動美應用，與那讓繪畫自身決定其發展的連鎖反應成作畫態度；更從蒙德里安（ P. Mondrian ）的新造形藝術裏，領會到虛與實的對立和維持均衡、和諧的空間處理法；也從最低限藝術（ Minimal Art ）裏探討出，把造形還原於最簡要素，以此最簡要素來做反複安排的手法。然而，林壽宇的藝術却比最低限藝術更來得精簡，簡直把自己限定於長方形和白色的最簡要素內，譜出最大的律動和最豐富的白色層次。這一種豐富的白色層次和長方形的反複，所構成的內涵是如此的緊湊和多樣，在世上實很難再尋找得出像林壽宇似的，以最簡的要素來追求最大效果的畫家了。這就是他獨特之風格，也使得他獲得國際名聲的所在。少就是多（ Less is more ）的奧妙就在此，同時也是把羅勃．摩利斯（ R. Morris ）的「要素的單純，並不意味着內涵的貧乏，相反地它也能譜出極豐富的內涵。」的藝術理念，實踐得最成功的畫家了。

白色的魅力與震撼依據康丁斯基的《藝術的精神性》（ Concerning the

Spiritual in Art ）所云：「無彩色的黑與白是無，然而黑是死的無，白是生的無，而一切的有彩色，如紅、黃、藍、綠等就位於此生與死的二極中間，各散發出其獨自的生命……。」由此可見，康丁斯基是把白色看成即將誕生生命之前的，那一種「無」和「虛」吧！不過，在林壽宇的白色，是如此充滿了生命與律動，絕不像西方人似的視成「虛無」的存在。這或許是中國繪畫裏的留白，一貫把它看成畫面的重要要素，含蘊着無盡生機的這一種中國人的繪畫觀，他把它繼承而加予發揚光大。林壽宇的那一塵不染且層次豐富的白色，是藉厚薄凹凸的

白色的魅力與震撼—林壽宇藝術之美

評論

纖細浮雕畫面效果所譜成的。在此，高低不同的白色，就做前後運動的方向；並且那層次豐富的白色長方形之反覆就釀造出，時而急驟，時而緩慢的時間性旋律，令人深覺白色不可思議的韻律美。如此，物質化的白色，就超越其物質性，而往抽象性、音樂性發展了。白色是純潔的。水平的長方形是和平中帶有一些剛毅的性格。虛和實的空間反覆，是律動生命的泉源。因而有些觀眾，就從這些書面連想到少女純潔的風貌，有些觀眾更體味到宗教似的神聖感覺，更有些觀眾從裏面發掘出人生的奧祕等，各自往內心裏探索自己之內涵。本來，抽象藝術是感覺性的，它給觀眾是在此刺激內，各尋自己之內涵，而往自己之思索沈潛下去。因而，它的內涵比自然再現的藝術，來得更廣與更深。林壽宇的白色畫面，偶爾也會出現紅、黃、藍等線條。例如以《繪畫浮雕—雙聯作》來說，他在白色主調畫面依次的放進從黃到淡黃的三條細線。然而這些有色線條是，為了提昇白色豐富的律動層次而存在的，有了它白色更顯得活潑與生氣，絕不會喧賓奪主地使白色失去光彩。所以，那有色線條的長度與面積，是經過長期思考的產物，跟白色之主調始終維持着均衡與和諧之狀態。由於上述的獨特風格，林壽宇的藝術曾在歐美各地的主要畫廊和美術館裏舉辦過無數次的個展，並且其作品已廣為歐美的著名美術館（如英國泰德美術館、美國赫胥宏美術館、巴西聖保羅美術館、羅馬國立現代畫廊等二十六所美術館）所收藏。雖然如此，他却並未在國內舉辦過個展，所以相信無論就作者或觀眾來說，這將成為一次頗富意義與價值的美展。

( 雄獅美術月刊 1982 年 11 月 141 期 )

The Fascinating and Breathtaking White – Art of Richard Lin

The Fascinating and Breathtaking White Art of Richard Lin Text by

Wang Hsiu-Hsiung

Honorary Professor of the Department of Fine Arts, National Taiwan Normal University

Article

Viewing Richard Lin’s painting is a fascinating and breathtaking experience in a spontaneous way. His exhibition appeals to the whole world, and an attempt like this is hardly seen elsewhere in Taiwan. It has always been my concern that his paintings may stand in a distance from the public’s understanding since they are rarely naturalistic or figurative. For viewers more familiar with art being representation of Nature, Lin’s total rejection of any natural images and his embrace of pure geometric patterns make it difficult, if not impossible, to reconnect it with our daily visual experience and to further establish an emotional or illusionary attachment to the images. However, I am certain that Lin’s paintings better visualize Truth than Naturalistic art. The beauty of colors and shapes are perfectly rendered with their substantial uniqueness, overwhelming us with the purity imbedded in the movement of white.

The Truth in Nature Is Different from the Truth in Art Naturalistic art is an illusion. The representation of Nature evokes one’s emotions when one attempts to construct a visual experience of daily life in one’s mind. Therefore, the art as representation of nature no longer creates a self-validating world but is validated by the naturalistic visualization. As a comparison, abstract art, rejecting any representation of Nature, expresses itself through pure shapes and the intrinsic property of white instead of external forces. It thus makes itself a self-sufficient universe in the world of art which is closer to the Truth than Naturalistic art. I would like to use a story to explain the beauty of abstract art. A French is speaking to two Chinese. One understands French, so he is paying more attention to the meaning of the words; while the other who does not understand French is attracted by the sound and rhythm of the language. Similarly, when the colors and shapes in a painting are to serve the representation of Nature, viewers will soon be captivated by the familiar natural scenes and begin to wonder the meaning of the images. How can they thus feel the beauty of pure shapes and colors? Only when all external forces, like the naturalistic representation and artists’ subjective styles, are excluded can a painting utterly reveal the beauty of abstract geometric shapes and colors. “A painting is like a person with its unique personality; when I want to hear its true voice, I have to keep it from any interference and external influence for it to express the true voice,” says color field painter Barnett Newman.

The Simplest Element Create the Biggest Effect An artist with creativity and originality is good at absorbing what the predecessors have achieved and digest them to create a unique artistic style. One of the examples is the Renaissance artist Raphael who perfectly blended the rational beauty of da Vinci, drawings of Michelangelo, and Venetian School’s 32

use of color together to establish the idealistic sense of beauty. Richard Lin used to be a figurative artist in the early stage of his practice. He first encountered action painting in the 1950s and decided to walk away from figurative painting to further explore abstract art. One thing he has learned from action painting is the application of pure colors to create energy, movement, and beauty as well as an artistic attitude allowing a painting to decide its own development through a series of spontaneous reaction. He has also been inspired by Piet Mondrian’s neo-plasticism for his balanced, harmonious composition based on positivenegative conflict and by minimal art for a repetitive pattern consisting of the most basic elements reduced from shapes. However, Lin’s art is even more minimalistic than minimal art and he almost limits himself to the simplest elements such as white or rectangles to create the most powerful movement and the richest shades of white. The repetition of rectangles and shades of white realize an intensive and diverse vocabulary. Lin indeed is one of the rare examples who pursue the biggest effect with the simplest elements. Less is more – it is what is unique to him and what he is known for in the world. We can even say that he is the best artist to realize Robert Morris’s idea that “simplicity of shape does not necessarily equate with simplicity of experience.”

The Fascinating and Breathtaking White According to Vasily Kandinsky in his Concerning the Spiritual in Art, black and white, with color excluded, respectively represents “something burnt out, like the ashes of a funeral pyre, something motionless like a corpse” and “the nothingness that is before birth, of the world in the ice age,” while other colors like red, yellow, blue, and green stay in “a circle between two poles.” In Kandinsky’s words, white is the void before birth. However, Lin’s white is full of life and energy, rather than the state of “nothingness” as described by Westerners. We might attribute it to the technique of liubai (blankness) in traditional Chinese painting, which plays a vital role in composition for that it reveals the endless possibilities covered by the appearance. Lin not only bases his practice on the traditional Chinese aesthetics but also elaborates it. Lin’s flawless white is rendered in rich layers, highlighted by a delicate relief effect with sharp contours. The shades of white seem to have their own movements as the multiple-layered white rectangle, chants the melody of time, rapidly or slowly, revealing the incredibly fascinating movement of white. Therefore, the materialized white transcends its materiality to embrace abstraction and musicality. White signifies purity, while the horizontal rectangle demonstrates the persistence of peace. The repetitive space between reality and illusion thus becomes the fountain of life’s movement. Some viewers associate it with virgins, girls who are pure and chaste; some have an experience of religious sacredness; and some even dig into it to unearth the mystery of life and to explore the true self. Indeed, abstract art is for us to feel. It provides a stimulus to viewers to search

The Fascinating and Breathtaking White – Art of Richard Lin

Article

for the self and to delve into one’s inner thoughts. As a consequence, what it contains is more thorough and profound than naturalistic art. Occasionally, Lin’s white is accompanied by lines in red, yellow, blue, and other colors. Take Painting Relief – A Diptych for example, he successively places three thin lines from yellow to light yellow in a white-based image. These lines of colors are to improve the rich movements of white, making it energetic and fullof-life while avoiding outshining the white. The lengths and sizes of the yellow lines are carefully managed to maintain the balance and harmony with the main tone of white. Richard Lin’s artworks, with such an unique style, have been presented in numerous solo exhibitions at major art galleries and museums around Europe and the Unites States of America, including Tate Gallery in Britain, Hirshhorn Museum in the USA, Museu de Arte de São Paulo in Brazil, Galleria Nazionale Moderna in Rome, and 22 other museums where Lin’s artworks are held in the collection. Nonetheless, he had never held a solo exhibition in Taiwan before this one, which will definitely offer a significant and valuable experience for viewers and the artist.

Published in The Lion Art Monthly , Vol. 141 (November, 1982).

林壽宇 Richard LIN 一九三三∼二零一一年出生於台灣台中霧峰

born in Wufeng, Taichung, Taiwan, 1933~2011

林壽宇，台灣光復後畢業於台灣省立台北建國中學（今台北市

Richard Lin graduated from Taipei Municipal Jianguo High School. During 1952-

立建國高級中學）， 1952-1958 年遠赴英國學習建築與藝術，

1958, he lived in the United Kingdom where he studied architecture and fine arts at

曾就讀米爾菲爾德及倫敦綜合工藝學院（今西敏大學）。 60 至

Millfield School and Regent Street Polytechnic (now University of Westminster).

70 年代，在英國發展極限繪畫過程中，早期以東方老莊的哲學思考為基礎，以中國的潑墨山水概念並結合中國文人畫中的「留白」空間，揮灑自如的墨色及律動的筆觸，使畫面蘊含無限的能量；後期作品更強調理性、幾何與純粹媒材的創構成，深具現代主義的意涵，讓他被後人稱為極簡主義大師、台灣藝術現代主義巨匠。 1961 年榮獲英國當代藝術學會勉勵獎、 1964

During the early years, Lin's creation was based on Eastern philosophical thoughts of Lao Tzu and Chuang Tzu. He applied concepts of Chinese splash-ink landscape painting, and combined them with the liubai (blankness), a key feature of traditional Chinese painting. Therefore, the freely swaying ink and the rhythmical strokes brought an infinite energy into his paintings. During his later years, Lin put more emphasis on rationality, geometry and pure mediums, thus strongly implicating modernism. Very soon he became known as the master of minimalism

年獲選參展德國第三屆卡塞爾文件展、 1985 年榮獲台北市立美

among Taiwanese modernists. Lin received an award from the Institute of

術館「中國現代雕塑展」首獎。其作品廣被國際重要美術館收

Contemporary Arts in London in 1961, exhibited at ducumenta III in Germany

藏，如倫敦泰德美術館、羅馬國立現代畫廊、多倫多安大略

in 1964, and was awarded at the "Chinese Modern Sculture Exhibition" organized

美術館及國立故宮博物院。

by Taipei Fine Arts Museum. His works have been collected by art museums of international importance, such as Tate Modern in London, Galleria Nazionale d'Arte Moderna in Roma, Art Gallery of Ontario in Toronto, and National Palace Museum in Taipei.

林壽宇｜ Richard LIN

簡歷｜ Biography

年表 1949

赴香港，在香港拔萃男書院完成高中教育，英屬香港

1952

從香港赴英國倫敦，就讀於米爾菲爾德學校，倫敦，英國

1954-58 就讀於倫敦綜合工藝學院（今西敏大學），倫敦，英國 1958

「林壽宇個展」，當代藝術學會，倫敦，英國「國際藝術家協會 25 週年紀念」，皇家藝術家協會畫廊，倫敦，英國「三華人繪畫家」，國際藝術家協會，倫敦，英國「名家及準名家」，萊斯特畫廊，倫敦，英國「英國當代抽象繪畫」，當代藝術學會，倫敦，英國

1959

「林壽宇個展」，金貝爾．斐斯畫廊，倫敦，英國

1960

「林壽宇個展」，斯頓畫廊，泰恩河畔新堡，英國

1961

榮獲英國當代藝術學會勉勵獎，倫敦，英國「林壽宇個展」，金貝爾．斐斯畫廊，倫敦，英國「國際水彩雙年展」，布魯克林博物館，紐約，美國

1962

「指南針 2 」，市立凡艾比美術館，恩荷芬，荷蘭

1963

「林壽宇個展」，皇家馬克斯畫廊，紐約，美國「林壽宇個展」，建築聯盟學院，倫敦，英國「七位英國青年畫家」，巴塞爾美術館，巴塞爾，瑞士「中國近代藝術」，市立萊沃庫森美術館，萊沃庫森，德國「英國藝術家」，金貝兒．漢諾威畫廊，蘇黎世，瑞士「利物浦雙年展」，沃克畫廊，利物浦，英國

1964

「林壽宇個展」，金貝爾．斐斯畫廊，倫敦，英國「第三屆卡塞爾文獻展」，卡塞爾，德國「匹茲堡國際美術展」，卡內基學會，匹茲堡，美國「當代英國畫家展」，杜塞道夫美術館，杜塞道夫，德國「大都會」，懷特渥斯畫廊，曼徹斯特，英國「解剖展」，萊斯特美術館，萊斯特，英國「當代英國藝術家展」，歐布萊－諾克斯美術館，水牛城，美國「新繪畫」，英國藝術委員會，各大城市，英國

1965

「英國眼」，馬博羅－葛松畫廊，紐約，美國「版畫展」，馬博羅．新倫敦畫廊，倫敦，英國返回台灣

1966

「林壽宇個展」，馬博羅．新倫敦畫廊，倫敦，英國「英國公開繪畫展」，阿爾斯特博物館，貝爾發斯特，英國「開幕展」，理查．德馬克畫廊，愛丁堡，英國「浮雕雕塑展」，馬博羅．新倫敦畫廊，倫敦，英國「版畫展」，馬博羅．新倫敦畫廊，倫敦，英國「亞爾克當代收藏展」，卡內基學會，匹茲堡，美國「新潮版畫展」，博艾曼斯．范．伯寧恩博物館，鹿特丹，荷蘭「白色與白色」，伯恩美術館，伯恩，瑞士

1967

榮獲「威廉佛瑞紀念收藏獎」，美國「英國青年畫家展」，愛麗絲．保利畫廊，洛桑，瑞士「英國青年版畫展」，瑪利．蘇珊．飛格現代藝術畫廊，巴塞爾，瑞士「春季展」，布拉福市美術館，布拉福，英國「愛丁堡 100 」，國立蘇格蘭現代美術館，愛丁堡，英國「橫越大西洋 1960-67 版畫展」，萊恩美術館，愛丁堡，英國「利物浦雙年展」，沃克畫廊，利物浦，英國「卡內基國際美術展」，卡內基學會，匹茲堡，美國

1968

「林壽宇個展」，馬博羅畫廊，羅馬，義大利「四倫敦藝術家聯展」，馬博羅－葛松畫廊，紐約，美國「英國精品美術展」，漢堡美術館，漢堡，德國

1969

「林壽宇個展」，謝米哈．胡博畫廊，蘇黎士，瑞士辭去工作專心創作，全家搬到威爾斯西海岸的莊園，威爾斯，英國「伊莉莎白二世皇后郵輪上畫展」，柯諾．馬博羅倫敦畫廊，英國「美術為工業」，皇家藝術學院藝術館，倫敦，英國

1970

「林壽宇個展」，馬博羅．新倫敦畫廊，倫敦，英國「白色的遊戲」，偉特夫斯畫廊，布魯塞爾，比利時「國際美術展」，巴塞爾美術館，巴塞爾，瑞士

1971

「林壽宇個展」，偉特史斯畫廊，布魯塞爾，比利時「林壽宇個展」，托福畫廊，科本廉斯與科隆，德國「國際美術展」，巴塞爾美術館，巴塞爾，瑞士

1972

「林壽宇個展」，羅爾畫廊，法蘭克福，德國「單色結構」，托福畫廊，科隆，德國「國際版畫雙年展」，克拉科夫，波蘭

1973

「當代英國畫家雕塑家展」，馬博羅－哥達畫廊，多倫多，加拿大

1974

「林壽宇個展」，馬博羅畫廊，倫敦，英國

1975

「林壽宇個展」，馬博羅畫廊，倫敦，英國

1976

榮獲「威爾斯藝術管理委員會榮譽獎」，威爾斯，英國回到台灣霧峰林家，為近 28 年來第一次回台，台灣

1979

「林壽宇個展」，鏡畫廊，科隆，德國

1981

「國際美術展」，科隆、杜塞道夫，德國

1982

「海外華裔名家繪畫」，香港藝術館，英屬香港「林壽宇個展」，龍門畫廊，台北，台灣榮獲義大利藝術大學名譽證書，義大利

1983

國立故宮博物院通過故宮管理委員會審查，收藏林壽宇畫作《繪畫浮雕雙聯作》，成為故宮第一件在世藝術家入藏故宮，亦成為該院的第一件現代藝術藏品，台北，台灣

1984

「無始無終－存在與變化系列作品」，春之藝廊，台北，台灣

1985

「中國現代雕塑展」，台北市立美術館，台北，台灣《我們的前面是什麼？》乙作與徐揚聰、黎志文各獲「中國現代雕塑展」購藏獎，台北市立美術館，台北，台灣

1986

「抽象藝術大展」，路易斯安那美術館，弗雷登斯堡，丹麥

1987

「純抽象藝術大展」，國立現代美術館，以色列

1989

「當代抽象藝術」，威爾斯當代美術館，威爾斯，英國

1991

創作《 228 紀念碑》之鐵雕作品，台灣

1995

「林壽宇個展」，家畫廊，台北，台灣

2002

林壽宇與嚴筱良師母回台灣台中縣定居，台灣

2007

「眼不見為「境」林壽宇收藏展」，家畫廊，台北，台灣

2009

「理性的追索：林壽宇個展」，學學白色空間，台北，台灣「封

2010

啟－林壽宇的進行式」，家畫廊，台北，台灣

「極限：林壽宇 2010 創作展」，學學白色空間，台北，台灣「獨白－林壽宇個展」，家畫廊，台北，台灣「一即一切：林壽宇 50 年創作展」，高雄市立美術館，高雄，台灣

2011

「林壽宇經典展」，家畫廊，台北，台灣逝世於台中，台灣

2013

「紀念台灣極簡主義宗師－林壽宇」，家畫廊，台北，台灣

2014

「一日美術館

2015

「剎那即永恆－ 2015 林壽宇捐贈典藏展」，高雄市立美術館，高雄，台灣

台灣現代藝術大師林壽宇」，台北，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

典藏泰德美術館，倫敦，英國藝術管理委員會，倫敦，英國北愛爾蘭藝術管理委員會，英國萊斯特美術館，萊斯特，英國懷特渥斯畫廊，曼徹斯特，英國市立曼徹斯特畫廊，曼徹斯特，英國諾威治畫廊，諾威治，英國格拉斯哥博物館，格拉斯哥，英國米德爾斯伯勒環境建設部，米德爾斯伯勒，英國菲茨威廉博物館，劍橋，英國劍橋大學克萊爾學院，劍橋，英國牛津大學基督堂學院，英國艾克斯特大學，艾克斯特，英國查特豪斯公學美術館，英國

林壽宇｜ Richard LIN

簡歷｜ Biography

市立萊沃庫森美術館，萊沃庫森，德國慕森加柏博物館，慕森加柏，德國給門特博物館，海牙，荷蘭博艾曼斯．范．伯寧恩博物館，鹿特丹，荷蘭國立現代畫廊，羅馬，義大利哥特堡美術館，哥特堡，瑞典沙拉．希爾頓－古若辛基金會，芬蘭阿特尼姆藝術博物館，赫爾辛基，芬蘭聖保羅藝術博物館，聖保羅，巴西奧林達博物館，奧林達，巴西安大略美術館，多倫多，加拿大麥克瑞公司，紐約，美國布魯克林博物館，紐約，美國歐布萊－諾克斯美術館，水牛城，美國阿爾克當代收藏中心，匹茲堡，美國沃克藝術中心，明尼亞波利斯，美國卡內基學會，匹茲堡，美國赫胥宏博物館，華盛頓，美國國立故宮博物院，台北，台灣台北市立美術館，台北，台灣弗雷登斯堡路易斯安那美術館，丹麥國立現代美術館，以色列威爾斯當代美術館，威爾斯，英國國立台灣美術館，台中，台灣高雄市立美術館，高雄，台灣

CHRONOLOGY 1949 1952 1954-58 1958

1959 1960 1961

1962 1963

1964

1965

Went to Hong Kong and completed senior secondary education at the Diocesan Boys’ School, British Hong Kong Left Hong Kong and went to London, attended Millfield School, London, UK Studied at Regent Street Polytechnic (now University of Westminster), London, UK “Richard Lin Solo Exhibition”, Institute of Contemporary Arts, London, UK “The 25th Anniversary of International Artists Association”, RBA Galleries, London, UK “Three Chinese Painters”, AIA Gallery, London, UK “Famous Masters”, Leicester Galleries, London, UK “British Contemporary Abstract Art”, Institute of Contemporary Arts, London, UK “Richard Lin Solo Exhibition”, Gimpel Fils Gallery, London, UK “Richard Lin Solo Exhibition”, Stone Gallery, Newcastle upon Tyne, UK Received an award from the Institute of Contemporary Arts, London, UK “Richard Lin Solo Exhibition”, Gimpel Fils Gallery, London, UK “International Watercolor Biennial”, Brooklyn Museum, Brooklyn, NY, USA “Compass 2”, Van Abbemuseum, Eindhoven, Netherlands “Richard Lin Solo Exhibition”, Royal Marks Gallery, New York, NY, USA “Richard Lin Solo Exhibition”, Architectural Association, London, UK “Seven Young British Painters”, Kunsthalle Basel, Basel, Switzerland “Chinese Modern Art”, Städtisches Museum Leverkusen, Leverkusen, Germany “British Artists”, Gimpel Hanover Galerie, Zurich, Switzerland “Liverpool Biennial”, Walker Art Gallery, Liverpool, UK “Richard Lin Solo Exhibition”, Gimpel Fils Gallery, London, UK “documenta III”, Kassel, Germany “Pittsburgh International Art Exhibition”, Carnegie Institute, Pittsburgh, PA, USA “Contemporary British Painters”, Kunstverein Düsseldorf, Düsseldorf, Germany “Metropolis”, Whitworth Art Gallery, Manchester, UK “Dissection”, Leicester Museum, Leicester, UK “Contemporary British Artists”, Albright-Knox Art Gallery, Buffalo, NY, USA “New Painting”, Arts Council England, major cities in the UK “British Eye”, Marlborough-Gerson Gallery, New York, NY, USA

1966

1967

1968

1969

1970

1971

1972

1973 1974 1975 1976

1979 1981 1982

1983

1984 1985

1986 1987 1989 1991 1995 2002 2007 2009 2010

2011

“Prints Exhibition”, Marlborough New London Gallery, London, UK Returned to Taiwan “Richard Lin Solo Exhibition”, Marlborough New London Gallery, London, UK “Open Painting Exhibition”, Ulster Museum, Belfast, UK “Opening”, Richard Demarco Gallery, Edinburgh, UK “Relief Sculpture Exhibition”, Marlborough New London Gallery, London, UK “Prints Exhibition”, Marlborough New London Gallery, London, UK “Exhibition of the Alcoa Collection of Contemporary Art “, Carnegie Institute, Pittsburgh, PA, USA “Modern Prints Exhibition”, Museum Boijmans Van Beuningen, Rotterdam, Netherlands “White and White”, Kunsthalle Bern, Bern, Switzerland Received the William Frew Memorial Purchase Award, USA “Young British Artists”, Galerie Alice Pauli, Lausanne, Switzerland “Young British Prints Exhibition”, Galerie d'art Moderne Marie-Suzanne Feigel, Basel, Switzerland “Spring”, Bradford City Art Gallery, Bradford, UK “Edinburgh 100”, Scottish National Gallery of Modern Art, Edinburgh, UK “Transatlantic Prints: 1960-67”, Laing Art Gallery & Museum, Edinburgh, UK “Liverpool Biennial”, Walker Art Gallery, Liverpool, UK “Carnegie International”, Carnegie Institute, Pittsburgh, PA, USA “Richard Lin Solo Exhibition”, Marlborough Galleria d’Arte, Roma, Italy “Four London Artists”, Marlborough-Gerson Gallery, New York, NY, USA “British Boutique”, Kunstverein in Hamburg, Hamburg, Germany “Richard Lin Solo Exhibition”, Galerie Semiha Huber, Zurich, Switzerland Resigned from his job to focus his work as an artist and moved his family to the farm Gwynfryn on the western coast of Wales, Wales, UK “Exhibition on the Queen Elizabeth II Cruise Ship”, Cunard-Marlborough London Gallery, London, UK “Industrial Art”, Royal College of Art, London, UK “Richard Lin Solo Exhibition”, Marlborough New London Gallery, London, UK “White Game”, Galerie Withofs, Brussels, Belgium “International Art Exhibition”, Kunsthalle Basel, Basel, Switzerland “Richard Lin Solo Exhibition”, Galerie Withofs, Brussels, Belgium “Richard Lin Solo Exhibition”, Galerie Teufel, Koblenz, Cologne, Germany “International Art Exhibition”, Kunsthalle Basel, Basel, Switzerland “Richard Lin Solo Exhibition”, Galerie Löhrl, Frankfurt, Germany “Monochrome Structure”, Galerie Teufel, Cologne, Germany “International Print Biennale”, Krakow, Poland “Contemporary British Painters and Sculptors”, Marlborough-Godard Gallery, Toronto, Canada “Richard Lin Solo Exhibition”, Marlborough Fine Art, London, UK “Richard Lin Solo Exhibition”, Marlborough Fine Art, London, UK Received the Wales Arts Council Award, Wales, UK Moved back to his ancestral home in Wufeng, Taichung, marking his first return to Taiwan since his leaving from Taiwan nearly 28 years ago, Taiwan “Richard Lin Solo Exhibition”, Galerie der Spiegel, Cologne, Germany “International Art Exhibition”, Cologne, Düsseldorf, Germany “Overseas Chinese Painters”, Hong Kong Museum of Art, British Hong Kong “Richard Lin Solo Exhibition”, Lung Men Art Gallery, Taipei, Taiwan Received the Diploma of Merit from the Universita delle Arti, Peglio, Italy The National Palace Museum’s management committee decided to acquire Lin’s Painting Relief Diptych for its collection, which became the first work of a living artist to be included in the museum’s collection as well as the first contemporary piece of artwork for its collection, Taipei, Taiwan “No Beginning No End – Existence and Variation Series”, Spring Gallery, Taipei, Taiwan “Chinese Modern Sculpture Exhibition”, Taipei Fine Arts Museum, Taipei, Taiwan Won the Purchase Award in the “Chinese Modern Sculpture Exhibition” along with Hsu Yang-Tsung and Lai Chi-Man for his work What’s Ahead? , Taipei Fine Arts Museum, Taipei, Taiwan “Abstract Art Exhibition”, Louisiana Museum of Modern Art, Fredensborg, Denmark “Pure Abstraction – Art Exhibition”, Museum of Modern Art, Israel “Contemporary Abstract Art”, Museum of Modern Art, Wales, UK Created the iron sculpture 228 Monument , Taiwan “Richard Lin Solo Exhibition”, Home Gallery, Taipei, Taiwan Lin and his wife Liang Yen-Hsiao returned to Taiwan and resided in Taichung, Taiwan “The Scenery of Mind – Selected Exhibition of Richard Lin”, Jia Art Gallery, Taipei, Taiwan “Richard Lin Solo Exhibition”, Xue Xue White, Taipei, Taiwan “Richard Lin Solo Exhibition”, Jia Art Gallery, Taipei, Taiwan “Limit: Richard Lin Art Exhibition 2010”, Xue Xue White, Taipei, Taiwan “Richard Lin Solo Exhibition”, Jia Art Gallery, Taipei, Taiwan “Homage to the Master One is Everything: 50 Years of Work by Richard Lin”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Richard Lin Solo Exhibition”, Jia Art Gallery, Taipei, Taiwan

林壽宇｜ Richard LIN

2013 2014 2015

簡歷｜ Biography

Passed away in Taichung, Taiwan “Taiwanese Minimalist Master – Richard Lin”, Jia Art Gallery, Taipei, Taiwan “One Day Museum – Richard Lin”, Taipei, Taiwan “An Instant Is Eternity – 2015 Exhibition of Richard Lin: Donations to the Museum Collection”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Transcendence and Symbol: The Exhibition of Neoplastic Art in Taiwan”, Liang Gallery, Taipei, Taiwan

COLLECTIONS Tate Gallery, London, UK Arts Council of Great Britain, London, UK Arts Council of Northern Ireland, UK Leicester Museum & Art Gallery, Leicester, UK Whitworth Art Gallery, Manchester, UK Manchester City Art Gallery, Manchester, UK Norwich Museum, Norwich, UK Glasgow Museum and Gallery, Glasgow, UK Department of Recreation and Amenity, Middlesborough, UK Fitzwilliam Museum, Cambridge, UK Clare College, Cambridge University, Cambridge, UK Christchurch, Oxford University, UK Exeter University, Exeter, UK Charterhouse School, UK Städtisches Museum Leverkusen, Leverkusen, Germany Museum Monchengladbach, Monchengladbach, Germany Gemeentemuseum Den Haag, The Hague, Netherlands Museum Boijmans Van Beuningen, Rotterdam, Netherlands Galleria Nazionale d'A rte Moderna, Roma, Italy Goteborges Konstmuseum, Goteborges, Sweden Foundation Sara Hildon-Gurothin, Finland Wäinö Aaltonen Museum of Art, Helsinki, Finland Museu de Arte de São Paulo, São Paulo, Brazil Regional de Olinda Museum, Brazil Art Gallery of Ontario, Toronto, Canada McCrory Stores Corporation, New York, NY, USA Brooklyn Museum, New York, NY, USA Albright-Knox Art Gallery, Buffalo, NY, USA Alcoa Collection of Contemporary Art, Pittsburgh, PA, USA Walker Art Center, Minneapolis, MN, USA Carnegie Institute, Pittsburgh, PA, USA Hirshhorn Museum and Sculpture Garden, Washington, USA National Palace Museum, Taipei, Taiwan Taipei Fine Arts Museum, Taipei, Taiwan Louisiana Museum of Modern Art, Denmark Museum of Modern Art, Israel Museum of Modern Art, Wales, UK National Museum of Fine Arts, Taichung, Taiwan Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan

蒼勁．婉約．李重重

評論

現代水墨當年盛大的風潮中，李重重 (1942-) 是少數的女性水墨藝術家，且表現突出。出身書香人家的李重重，誕生於安徽省屯溪縣，父親也是一位學習藝術的近代知識份

文

蕭瓊瑞

國立成功大學歷史系教授

子，早年畢業於北平美術學院，專習傳統水墨。 1947 年，李重重五歲，跟隨父母來到臺灣；父親任職臺鹽七股鹽場，李重重便在臺南鄉下，安靜而幸福地度過了她的童年。

1965 年，李重重自復興崗政戰學校藝術系畢業； 1968 年，便加入了「中國水墨畫學會」，開始現代水墨畫的實驗與開拓。從家學淵源的傳統水墨，到學院教育的油畫訓練，同時也透過國內外豐富的參展經歷，李重重接受並投身現代水墨的洗禮與歷練，是源自一種創作實驗的內在思維與反省。她對水墨媒材所潛藏的無限可能性，以及傳統表現手法的狹隘拘限，具有深刻的自覺與反省。初期，她從技巧的更新和媒材的實驗著手，嘗試了許多以拓墨和自動技法為主體的創作。之後，她逐漸從自己既有的傳統筆墨中去發掘新意，用筆用墨重新成為畫面的主體，但造形已經是一種全新的語彙；各種技法退位成只是從旁輔助的工具，不再是主體。正是這種被文學研究者兼藝評家的尉天驄稱美為「有根的現代」的風格，使李重重成為臺灣現代抽象水墨在 70 年代之後，備受矚目與肯定的一位重要藝術家。李重重的作品，在完全拋棄傳統形式語彙的過程中，卻傳承了中國傳統水墨中最動人的墨韻和精神。因此，她的作品不僅擁有現代的形式，也呈現深刻、動人的傳統文人內涵。她的創作，從佈局入手，自墨韻收尾；因此，她的繪畫，不僅有縱橫蒼潤的筆觸線條，也有塊面渲染的空間意境，但更重要的，是她在層層營造的墨韻層次中，創造了作品蒼潤婉約的動人氣質，與深厚渾成的紮實質感。為了達成這種效果，李重重作畫的過程，表面上看，似乎恣意揮洒、逸筆草草，實際上則是舉重若輕，墨色堆疊往往幾達數十次，進行得相當緩慢。李重重說：我希望作品要有大象重重跺腳時那樣的震動。

2000 年以後的作品，李重重運用焦墨與淡墨的對比、細線與色塊的對映，傳達出中國傳統哲學中，亦動亦靜、動靜相參、物我合一的種種聯想與共鳴。有時是一種墨彩相容、連綿不絕的滾動造型，有時則如某一斷面中突然湧現的色彩精靈，給人一種斷、續，存、滅的衝擊與並置的感受。而物情、物象、物緣的層層敷衍，引人進入一種生命思索的深沈境域。李重重在臺灣現代水墨發展史上，最為突顯且重要的成就與貢獻，是她在現代的水墨形式中，掌握及呈顯了中國傳統獨特的空靈、氣韻與意境，正是所謂「筆墨相濡、意超象外」的筆勢與墨韻，蒼勁與婉約並存，物性與人性輝映，是這個時代最值得珍惜的一種水墨姿態與聲音。

蒼勁．婉約．李重重

評論

Vigorous and Restrained – Lee Chung-Chung

Vigorous and Restrained Lee Chung-Chung Text by

Hsiao Chong-Ray

Professor of the Department of History, National Cheng Kung University

Article

Amongst a flourishing trend in modern ink in recent years, Lee Chung-Chung (1942-) is a rare example of a female ink artist who exhibits an outstanding level of performance. Lee was born into a family of scholars in Tunxi of Anhui County. Her father was also a modern day intellectual who studied at Peking Fine Arts College and graduated with a major in traditional ink painting. In 1947, when Lee was 4 years old, she came to Taiwan with her parents. Her father worked at Taiyen’s Cigu Salt Mountain. Lee lived in the countryside of Tainan where she spent a quiet and happy childhood. In 1965, Lee graduated from the Department of Fine Arts at Fu Hsing Kang College. In 1968, she joined the Chinese Ink Painting Study Association, where she began experimenting with modern ink painting and developing her talent in it. Having learned traditional ink painting at home and received training in oil painting at the college, Lee has a vast of experience participating in both local and overseas exhibitions. Lee accepted and threw herself headlong into the training of modern ink painting, inspired by inner contemplations and reflections on creative experimentation. The endless possibilities she hides within her approach to ink media while also straddling the tight constraints of traditional methods reveal a deep sense of consciousness and introspection. Initially, she began by practicing her techniques and experimenting with media, while attempting many ink rubbing and automatic techniques. Afterwards, she gradually developed some new ideas from traditional ink painting, using brush and ink as the main subject of the image again. However, shapes were already a completely new type of language. The abdication of various techniques was simply an auxiliary tool from the sidelines, and no longer the main subject. The literary scholar and art critic, Wei Tian-Cong, praised this as a beautiful modern style with deep roots. This enabled Lee to gain much attention and recognition as an important artist in Taiwan’s modern abstract ink scene after the 1970s. In the process of completely abandoning the language of traditional forms, the works of Lee Chung-Chung managed to inherit the most moving ink rhyme and spirit of traditional Chinese ink painting. As a result, her works not only present modern forms, but also reveal the profound and touching connotation of traditional literati. Her works begin from layout and end with ink rhyme. As a result, her paintings not only feature vertical and horizontal brush strokes, but also blocks of space for mood. More importantly, however, in the ink rhyme created by layers, she generates a graceful and moving temperament as well as a deep, solid texture in her works. To achieve this effect, Lee’s painting process on the surface seems almost arbitrary and swaying. In fact, this more follows the principle of using a light touch. Ink is often stacked more than dozens of times, which is quite a slow process. Lee once said: I hope that my works feature the 46

same vibration as an elephant stomping its feet. Since 2000, Lee Chung-Chung’s works featured a contrast of dry and light brush strokes to express a notion of motion and motionlessness, a common theme explored in ancient Chinese philosophy. Sometimes, these strokes are like continuous morphing shapes or ink flowing into each other. Sometimes, they are dashes of color that interrupt one another. They were a juxtaposition of discontinuity and continuity, and existence and vanishing. These layers of events, objects, and material evoke deep thoughts about life. Lee Chung-Chung’s most significant contribution to the development of modern ink in Taiwan is the infusion of traditional Chinese essence, imagery, and mood into modern ink painting. The works echo the notion: “Pen and ink mixing with each other to transcend imagination.” It is a union of vigor and grace, a celebration of material and human nature. Lee’s ink works are the most worthy of collection among modern ink of this era.

Vigorous and Restrained â&#x20AC;&#x201C; Lee Chung-Chung

Article

李重重 LEE Chung-Chung 一九四二年出生於中國安徽屯溪

born in Tunxi, Anhui, China

李重重，其父親李金玉先生為知名水墨畫家，以傳統北派青

Lee Chung-Chung's father Lee Chin-Yu was a well-known ink painter who

綠山水見長。李重重自小耳濡目染，對水墨創作一直有著濃

received a traditional North School landscape painting education. At an early age,

厚的興趣，卻發展出與父親截然不同的奔放風格。復興崗政

she has had a keen interest in ink painting, yet developed a bold and unrestrained

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，

style distinct from her father's traditional way. Having acquired the creative

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

conscious and cultivation of the literati tradition and having received Western

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

modern painting training in the Department of Fine Arts at Fu Hsing Kang College, the artist strived to discard doctrines and to build an individual path as a form of self-declaration. 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

特的風格讓李重重在台灣抽象水墨界佔有一席之地，並且散

expansion of ink as well as automatism to create a seemingly vigorous circulation

發著剛柔並濟的魅力。

in her works. Bright colors, according to the artist, are meant to vibrate in the ink just like the ground shakes as "an elephant heavily puts down its foot." Lee's unique style, dominated by the charm of firmness and flexibility, has let her establish a solid position in Taiwanese abstract ink painting.

李重重｜ LEE Chung-Chung

簡歷｜ Biography

年表 1965

政戰學校藝術系畢業，台北，台灣

1971

於凌雲畫廊水墨舉行個展，台北，台灣

1975

於美國文化中心舉行個展，台北，台灣

1978

於龍門畫廊舉行水墨個展，台北，台灣

1981

「中國現代繪畫趨向展」，賽紐斯基博物館，巴黎，法國

1984

於美國文化中心舉行個展，台北，台灣

1985-93 「第一屆至第九屆－亞洲國際美展」，漢城，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，巴黎，法國

1988

「台灣當代藝術創作展」，聖荷西埃及博物館，加州，美國

1990

於亞洲藝術中心舉行個展，馬利蘭州，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，俄羅斯「台北現代水墨畫」，上海美術館，中國

1994

於國立歷史博物館舉行個展，台北，台灣「中國現代水墨畫大展」，台灣省立美術館（今國立台灣美術館），台中，台灣

1998

於國際藝展空間舉行水墨個展，台北，台灣「今日大師與新秀大展－台灣當代抽象藝術新風貌」，巴黎，法國

2001

於東海大學藝術中心舉行水墨個展，台中，台灣

2003

「亞洲國際美展」，香港，中國「台灣現代水墨畫展」，北京國家博物館，北京，中國

2004

「台灣現代水墨畫展」，青島美術館，青島，中國

2005

「關渡英雄誌台灣現代美術大展」，國立台北藝術大學，台北，台灣

2006

「李重重心象水墨個展」，國父紀念館逸仙藝廊，台北，台灣

2007

於國立雲科大藝文中心舉行水墨個展，雲林，台灣「台灣水墨畫精品展」，東京國立新美術館，東京，日本「第三屆成都雙年展│特別邀請展：水墨新動向－台灣現代水墨畫展」，成都，中國「水墨變相－現代水墨在台灣」，台北市立美術館，台北，台灣

2008

於台南縣立文化中心舉行水墨個展，台南，台灣於天使美術館舉行水墨個展，台北，台灣「第二屆台北當代水墨雙年展」，台北市立美術館，台北，台灣

2009

「開顯與時變－當代創新水墨藝術展」，台北市立美術館，台北，台灣「中國全國美展」，北京，中國

2011

「李重重現代水墨個展」，新時空文化時空藝術會場，台北，台灣「百歲百畫－台灣當代畫家邀請展」，國父紀念館中山畫廊，台北，台灣「台北國際藝術博覽會」，新時空文化，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「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「台南藝術博覽會」，台南大億麗緻酒店，台南，台灣「山水風華」，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

經歷高雄市立美術館典藏諮詢委員，高雄，台灣高雄獎水墨膠彩類評審委員，高雄，台灣國立台灣美術館水墨類展覽評審委員，台中，台灣台北市立美術館展覽評議委員，台北，台灣國父紀念館展覽審議委員，台北，台灣全國美術展水墨類評審委員，台北，台灣全國美展、台北縣美展評審委員，台北，台灣南瀛藝術獎水墨類評審委員，台南，台灣南瀛獎雙年展水墨類評審委員，台南，台灣

獲獎中國文藝協會現代水墨創作獎，台灣國立歷史博物館金質獎章，台灣

典藏國立歷史博物館，台北，台灣台北市立美術館，台北，台灣高雄市立美術館，高雄，台灣國立台灣美術館，台中，台灣亞洲藝術中心，馬利蘭州，美國福岡美術館，福岡，日本青島美術館，青島，中國

CHRONOLOGY 1965 1971 1975 1978 1981 1984 1985-93 1986 1988 1990 1991 1992 1993 1994

1998 2001 2003 2004 2005 2006 2007

Graduated from the Department of Fine Arts, Fu Hsing Kang College, Taipei, Taiwan Solo exhibition of ink paintings, Ling Yun Gallery, Taipei, Taiwan Solo exhibition, American Cultural Centre, Taipei, Taiwan Solo exhibition of ink paintings, Lung Men Gallery, Taipei, Taiwan “Exhibition on Trends of Modern Painting in China”, Cernuschi Museum, Paris, France Solo exhibition, American Cultural Centre, Taipei, Taiwan “The 1st-9th Asian International Art Exhibition”, Seoul, Korea Solo exhibition, Dachia Art Center, Taipei, Taiwan “New Trends in Chinese Traditional Painting”, Versailles, Paris, France “Taiwan Contemporary Creative Art Works Exhibition”, San Jose Egyptian Museum, California, USA Solo exhibition, Asian Art Centre, Maryland, USA Solo exhibition, Taipei Fine Arts Museum, Taipei, Taiwan Solo exhibition, H&W Art Centre, Taipei, Taiwan “Chinese Modern Ink-and-Color Paintings Exhibition”, Folk Museum of Russia National Museum, Russia “Taipei Modern Ink Paintings Exhibition”, Shanghai Art Museum, China 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 Solo exhibition of ink painting, International Art Exhibition, Taipei, Taiwan “Exhibition of Works by Today’s Masters and New Talents – Refreshing Images of Taiwan Contemporary Abstract Art”, Paris, France Solo exhibition of ink painting, Tunghai University Art Gallery, Taichung, Taiwan “Asian International Art Exhibition”, Hong Kong, China “Taiwan Modern Ink Paintings Exhibition”, National Museum of Beijing, Beijing, China “Taiwan Modern Ink Paintings Exhibition”, Qingdao Art Museum, Qingdao, China “Kuan-Tu Heroes Chronicle – Taiwan Modern Art Exhibition”, Taipei National University of the Arts, Taipei, Taiwan “Ink Painting of Lee Chung-Chung”, Yat-Sen Gallery of National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan 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

李重重｜ LEE Chung-Chung

2008

2009 2011

2012 2013

2014

2015

簡歷｜ Biography

Contemporary Art Museum, Chengdu, China “Ink Transformation – Modern Ink Painting”, Taipei Fine Arts Museum, Taipei, Taiwan Solo exhibition of ink paintings, Art Center of Tainan County, Tainan, Taiwan Solo exhibition of ink paintings, Angel Art Gallery, Taipei, Taiwan “The 2nd Taipei International Modern Ink Painting Biennial”, Taipei Fine Arts Museum, Taipei, Taiwan “Open Flexibility: Innovation Contemporary Ink Art”, Taipei Fine Arts Museum, Taipei, Taiwan “China Art Exhibition”, Beijing, China Solo exhibition of modern ink paintings, Starts Studio of Spatial & 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”, Spacial and Timing Arts, Taipei, Taiwan Solo exhibition of ink paintings, Star Gallery, Taipei, Taiwan “International Ink Painting Exhibition and Symposium”, Zhongshan Art Gallery of Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan “L’encre de Chine, Chant du Cœur – Solo Exhibition of Ink Paintings”, Pemalamo Gallery, Taipei, Taiwan “Asian International Art Exhibition”, Contemporary Art Center LAC Dammam, Jen, Bangkok, Thailand “Contemporary Chinese Painting Academic Forum and Academic Exhibition”, Zhongshan Art Gallery of Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan “The Pioneers of Taiwanese Artists, 1941-1950”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “Women Adventurers: Five Eras of Taiwanese Art 1930-1983”, Taipei Fine Arts Museum, Taipei, Taiwan “Landscape Impressions – Solo Exhibition of Ink Paintings”, Red Gold Fine Art, Taipei, Taiwan “On-site: Cross-contextual Ink Art Experience – Parallel Exhibition of Shanghai New Ink Painting Art Exhibition”, Shanghai Himalayas Museum, Shanghai, China “Marvelous Encounters in the Collection: On Wings of Music and Poetry”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Women – Home: In the Name of Asian Female Artists”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Abstract / Symbol / Oriental – Exhibition of Taiwan's Masters of Modern Art”, Liang Gallery, Taipei, Taiwan “Collection and Dialogue – Taiwan’s Contemporary Ink Painting”, Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan “Walking by Taiwanese Art: 1927-2014”, Liang Gallery, Taipei, Taiwan "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

EXPERIENCE Advisory Committee for Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan Examination Committee for Kaohsiung Awards, Kaohsiung, Taiwan Evaluation Committee for Exhibitions held at the National Taiwan Museum of Fine Arts, Taichung, Taiwan Evaluation Committee for Exhibitions held at the Taipei Fine Arts Museum, Taipei, Taiwan Evaluation Committee for Exhibitions held at the National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Examination Committee for National Art Exhibition, Taipei, Taiwan Examination Committee for National Art Exhibition and Taipei County Art, Taipei, Taiwan Examination Committee for the Category of Ink Paintings at the Nan-Ying Art Award, Tainan, Taiwan Examination Committee for the Category of Ink Paintings at the Nan-Ying Biennial Art Award, Tainan, Taiwan

AWARDS Modern Creative Ink Painting Award, Chinese Writers’ & Artists’ Association, Taiwan Gold Award, National Museum of History, Taiwan

COLLECTIONS National Museum of History, Taipei, Taiwan Taipei Fine Arts Museum, Taipei, Taiwan Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan National Taiwan Museum of Fine Arts, Taichung, Taiwan Asia Art Center, Maryland, USA Fukuoka Art Museum, Fukuoka, Japan Qingdao Art Museum, Qingdao, China

意識的懸宕─試論莊普的繪畫

評論

意識的懸宕

有低限主義及後低限主義習見的模矩化（ modular ）和連

試論莊普的繪畫

續性（ serial ）的結構，並且，以單純的母題，依連續重複

莊普的作品自 1980 年代初期從西班牙返國以來，一向具

的手段，組構成一個複雜而統一的形式整體。他喜歡以連續的方格結構來形塑畫面；不過，並不堅持正方的畫幅，

文藝評家 / 策展人

王嘉驥

長寬比例較有隨性的自由傾向。莊普的作品展現了一種具有重量和層次性的編織感。他引進異質性的媒材，甚至使畫布回歸作為織品的物性，以針織或車縫的方式，讓縫線作為譜構畫面的線條。如此，畫布不再只是作畫的平面，同時也成了物的載體。現代主義所強調的去實體的純粹性，來到莊普的畫作中，變成了一種混雜與異化，既不純粹也不單純。有別於嚴謹而自律的水平和垂直結構，莊普對於四十五度角的斜向線條情有獨鍾，而且，時常可以見到刻意營造的率性或偶然的不規則線性書寫。莊普以往也經常將幾何的畫面視為載體，讓縫線、金屬線或其他異性材質浮現或突出於畫面之上與之外，形成了一種介於繪畫與立體裝置之間的效果，同時，也讓幾何的畫面與不規則的線性書寫，形成一種看似對立卻又相互襯托的視覺構成。莊普形塑了一種既冷又溫，既理性又感性，既幾何又表現，既構成又即興的畫面風格。這種折衷是混合而不是融合，也帶著既東方（或中國？）又西方的揉雜。以平面繪畫的形式作為基底，莊普於其上衍生並顯現了點、線、面的物性，不但將點連結成線與面，更讓線在空間中迭宕，使其綿延為現實世界中的量體。在創作上，莊普的不安於純粹，也明顯見於他持續為自己的藝術引進各種異質性的媒介。他甚至有意從「手繪性」逃開，摒棄「直接性」，跳脫「藝術」作為直證個人心印（ mindscape ）的刻板形象。他也從「物性」的層面著手，重新聯繫抽象和現實的關係。 1990 年之後，莊普時常利用現實世界的物件，甚至現成物，嘗試觀念性的裝置。莊普甚至捨棄畫筆，改以公分見方為單位的印章作為畫具，發展成一套「印觸」技法。受中國印拓的傳統啟發，莊普將「繪

畫」異化為一種「轉印」的概念。因為印章

取代了畫筆，所以，當印章附著了顏料，在畫布上印壓之 54

後，反而留下凹凸相對鮮明的觸感與痕跡。每一次的轉印動作，只以公分見方為單位；每一次的印壓，也因為顏料的厚薄不同，以及每一次手感的差異，而形成不同的印觸痕跡。如此一來，印跡的增生、疊壓與交互覆蓋，譜出了一種深具觸感的密實厚度。與其說這是繪畫，還不如說是一種量塊的編織。數以百計或千計的印觸痕跡，以其抽象的構成，形塑為一種集合的量體。每一塊以公分見方作為疆界的微型色塊和斜線，彼此同中有異，相互更加和而不同。每一筆印記的心感與手觸，雖然都不盡相同，但是，平行的印蓋，以及反覆的疊壓，最後完成的作品形成了一種渾沌難名的意識混合體。印壓的時間雖有先後，最後卻失去了歷史的線性。轉印的過程當中，有千百個印觸，就有千百個轉念；念頭來來去去，才生即滅，才滅又生。而心手之間，也未必一定相印，手可能離心，心也未必常駐，儘管印壓的動作仍舊進行著。因此，莊普的畫作呈現了一種意識的懸宕。將畫布作為意識的載體，莊普在畫面上反諷地留下念頭在時空中流動的印跡──不但形塑為多重的色彩與色調變化，更形成厚實的重量感。就此而言，莊普透過繪畫似乎也流露了他個人對於佛教哲學的自覺。在晚近的畫作中，莊普的印記更拓展出不同的形式意味。有別於先前的冥想意識，「印記」如今更具體地演變為一種視覺性的「訊號」。就以他 2008 年的幾件以「光」為題的新作為例，印記除了作為表現「光跡」的基本造形位元之外，莊普的印記也轉化──或突變？──為仿數位馬賽克效果的造形。如此，他為畫面賦予了更具視覺指涉性的符號聯想。馬賽克效果直指數位影樣畫面的掉格現象，於是，莊普的畫布又成為模擬影像的載體，回應著當代影像的觀視課題。馬賽克效果破壞了原來畫面形象的完整性。就符號的能指而言，數位馬賽克的出現，也暗示觀者在畫面中所見的一道道明亮之光，很可能是經過電子訊號的傳輸處理，而後顯影在螢幕載體上的一種人造的「偽光」。

意識的懸宕─試論莊普的繪畫

評論

以畫布模擬螢幕，莊普畫面所見的印記不再是意識流動的物性痕跡，而變成一種方格化的數位畫素（ pixel ），或是類比式的視覺噪訊。馬賽克效果若是破壞畫面的視覺因子，但也因為實在突出，所以激盪了藝術的真實之光究竟為何的哲學議題。類比訊號也罷，數位訊號也罷，在當代的傳媒世界當中，畫素取代了現實。螢幕光束所投射的影像，餵給並掌握了觀者的慾望。數據化的時間── 2008 ──不但提示了現實的座標，更不帶情感地強化了當下的此時。過度真實的現實，也使人時而萌生逃逸意識。有時，即便只是面對一片由光點閃爍所構成的噪訊畫面，或許都能使人暫時放空。科技影像的年代降臨，放射性的光固然提供了觀者對希望的想像與期待，卻也可能只是偽光，純粹只是製造投影的假象。面對消費主義時代一切商品化的過度宣傳與包裝，藝術的「靈光」（ aura ）何在？藝術家能夠作什麼？莊普從不言明，但意識與知覺卻持續轉念……。（節錄自莊普 2008 年「我討厭村上隆」個展專文）

Conscious Cliff-Hanging – An Essay on Tsong Pu’s Paintings

Conscious Cliff-Hanging An Essay on Tsong Pu’s Paintings Text by Art Critic and Curator

Chia Chi Jason Wang

Article

Since Tsong Pu’s artworks return from Spain in the early 1980s, there has consistently been a minimal and post-minimal modular and serial structure. Furthermore, with a simple theme of serial repetition, a complicated yet unified whole is formed. He likes to model the image with a serial grid structure, while not strictly adhering to a square frame, resulting in proportions that tend to be more liberal. Tsong Pu’s works show a type of weaving that is heavy and layered. He introduces heterogeneous media, with even the canvas possessing woven properties, employing knitting or machine sewing to allow the seams to compose the contours of the image. In this way, the canvas is no longer just the surface, it is also a part of the medium. Whereas modernism emphasizes the purity after removal of the physical, Tsong Pu’s paintings become more mixed and alienated, being neither pure nor simple. Unlike a rigorous and disciplined horizontal and vertical structure, Tsong Pu has a passion for using 45-degree angles. Moreover, you can often see meticulously constructed rational and accidentally irregular linear compositions. Tsong Pu used to also often regard the geometrical image as the medium, allowing the seams, wire, or other material emerge or protrude from the image or outside it. This had the effect of being artwork that fell somewhere between a painting and a three-dimensional installation. Simultaneously, it also allowed the geometrical image and the irregular linear composition to form a type of seemingly contrasting yet mutually complimenting visual whole. Tsong Pu shapes a style that is cold yet warm, rational yet emotional, geometrical yet expressive, and structural yet improvised. This kind of compromise is a hybrid rather than a fusion, but it also brings forth a mix of the East (or China?) and the West. Tsong Pu derives and presents dots, lines, and the physical properties of the surface. He not only connects the dots to form lines with the surface, he freely allows the lines to roam in space, extending as a real world structure. Creatively, Tsong Pu does not settle for purity, which is also apparent in his continuous introduction of various heterogeneous mediums in his art. He even deliberately departed from “hand painting”, gave up “directness”, and went beyond “art” as a personal mindscape stereotype. He also proceeded from the level of “substance” to re-link the abstract with the real. After 1990, Tsong Pu often used worldly objects, even ready-made objects, and tried his hand at conceptual installation art. Tsong Pu even abandoned the brush and has changed to a square seal of a centimeter as a painting tool, developing a “stamping” technique. Inspired by traditional Chinese seal printing, Tsong Pu turned the concept of “painting” 58

into a kind of “printing.” Since a seal has now taken the place of a brush, when the seal is dipped in paint, and after it has been printed onto the canvas, it leaves uneven, relatively distinct impressions and traces. Each print is only a centimeter in size; and each time it is pressed with different thickness of the paint, leaving a different texture, different stamp traces are formed. Thus, the multiple prints accumulate and cover each other, recording a kind of deep impression of a dense thickness. This is not so much a painting, as it is more a kind of weaving. Hundreds or thousands of stamp traces and their abstract structure form an assembled whole. Each centimeter-big square constitutes a border, a miniature block of color and slanted lines. Each has diversity in similarity, and is different in resemblance. The feeling of each seal print, while all different yet of the same importance, and the repeated layering finally manifests itself in the completed work as a kind of chaotic aggregation of consciousness. Although there is a time sequence to the actual printing, it eventually loses its linear history. During the process of printing, there are numerous actions and numerous reconsiderations. Thoughts come and go. They are only just born, then extinguished; only just extinguished, then born. Heart and action do not necessarily resonate with each other. Action can distance itself from the heart. The action of the printing continues, with the heart not present. Therefore, Tsong Pu’s paintings present a kind of conscious cliff-hanging. The canvas becomes the conscious medium. Tsong Pu ironically left the idea in the traces flowing through time and space. Not only shaping the change of the many colors and tones but also shaping an abundant sense of weight. In this regard, Tsong Pu, through his paintings, seemingly reveals his personal Buddhist philosophy consciousness. In recent paintings, Tsong Pu’s mark shows a more diverse array of forms. Unlike his previous meditative conscious, “mark” has now more specifically evolved into a kind of visual “signal”. Take a few of his “light” themed works from 2008 as an example. Apart from the basic form of the “light traces”, Tsong Pu’s mark also changed – or mutated? – into what resembles a digital mosaic shape. In this way, he has given the image a more visual and referential symbolic association. The mosaic effect refers directly to a digital video frame, and, therefore, Tsong Pu’s canvas has become an imitation image medium in response to the topic of contemporary viewing. The mosaic effect shatters the completeness of the original image. In symbolic terms, the digital mosaic appearance also suggests that the channels of bright light the viewer sees in the image have very likely been transmitted through an electronic signal, with a kind of artificial “pseudo-light” manifesting itself on the screen.

Conscious Cliff-Hanging – An Essay on Tsong Pu’s Paintings

Article

On the canvas’ simulated screen, Tsong Pu’s prints are no longer substance traces of flowing consciousness, but rather grid-like digital pixels or analog digital noise. The mosaic effect makes the visual aspect of the image seem broken, but it also projects that the true artistic light of the philosophical theme surges forward. Whether it is an analog signal or a digital signal, in the world of contemporary mediums, pixels replace reality. Images projected on a screen feed and grip the viewers’ desires. The data age – 2008 – not only prompts actual coordination, but also emotionlessly emphasizes the now. Excessive actual reality now and then causes people to escape consciousness, sometimes even only by facing the signal noise generated by flashing lights, or it allows people to empty their minds. The age of technological imaging is here. Although radioactive light provides viewers with imagination and expectation, it is yet most likely only a pseudolight, a purely manufactured, projected illusion. In the age of consumerism, with all this commercialized, excessive propaganda and packaging, what is the “aura” of art? What can artists do? Tsong Pu never elucidates, but constantly reconsiders consciousness and perception … . (From Tsong Pu’s 2008 I Hate Takashi Murakami exhibition monograph)

莊普 TSONG Pu 一九四七年出生於中國上海

born in Shanghai, China, 1947

莊普， 1978 年畢業於西班牙馬德里大學藝術學院。創作受「抽

Tsong Pu graduated from the La Escuela Superior de Bellas Artes de San

象表現主義」觀念影響，使他作品具有理性的構成，卻又不失

Fernando de Madrid in 1978. His creation is based on the concepts of "abstract

感性的抒發。作品跳脫傳統平面繪畫的形式，抽離具象的干擾，

expressionism"; paintings are rational, yet full of emotional expression. His artworks

強調繪畫的物質性與抽象思維的呈現。曾於台灣、日本、香港、

escape the traditional form of painting, avoid any form of figurative interference,

中國、美國、法國、西班牙、比利時展出。 1984 年獲得中國現代繪畫新展望台北市長獎、 1985 年獲得雄獅雙年獎、 1992 年獲得台北現代美術雙年展獎。作品曾獲台北市立美術館、國立台灣美術館、高雄市立美術館典藏。

emphasize the materiality of painting, and render abstractions. His works have been exhibited in Taiwan, Japan, Hong Kong, China, the United States, France, Spain, and Belgium. He received the Taipei City Mayor Award for A New Vision of Contemporary Chinese Painting in 1984, the award of the Taipei Hsiung Shih Biennial Exhibition in 1985, and the award of the Taipei Biennial of Contemporary Art in 1992. Tsong Pu's artworks have been collected by Taipei Fine Arts Museum, the National Taiwan Museum of Fine Arts, and the Kaohsiung Museum of Fine Arts.

莊普｜ TSONG Pu

簡歷｜ Biography

年表 1969 1978 1979 1997 1998

私立復興美工，台北，台灣西班牙馬德里大學藝術學院，馬德里，西班牙「全歐中國畫家藝術聯盟展」，布魯塞爾金龍畫廊，布魯塞爾，比利時「裂合與聚生－威尼斯雙年展」，威尼斯，義大利「巴黎今日大師與新秀大展－ 40 週年特展」，巴黎，法國「內外翻轉

1999 2000 2001 2002 2004 2005 2006

中國新藝術」， PS1 美術館，紐約；舊金山現代美術館，舊金山，美國

「在線上」，誠品畫廊，台北，台灣「文字的遊戲」，水牛城大學藝術中心，水牛城，美國「台北當代藝術展」，上海現代美術館，上海，中國「 Chinese Ink Tree 」，無限的改變 III ，維魯耶拉修道院，薩拉戈薩，西班牙「福爾摩沙台灣當代藝術展」，帝歐席薩主教博物館，巴塞隆納，西班牙「在遼闊的打呼聲中」，伊通公園，台北，台灣「巴黎首都藝術－聯合沙龍大展」，巴黎大皇宮，巴黎，法國「 PASS 」，名古屋藝術大學藝術與設計中心，名古屋，日本「台灣美術發展 1950-2000 」，中國美術館，北京，中國

2008

「 Art is Alive －釜山雙年展 2008 」，釜山當代藝術館，釜山，韓國「我討厭村上隆」，伊通公園，台北，台灣

2009

「普 • 天 • 同 • 慶－莊普、吳天章雙個展」， 2009 藝術北京－當代藝術博覽，北京，中國「第一接觸－台北 • 昆明 • 香港當代藝術聯展」， 99 藝術空間，昆明，中國「觀點與「觀」點： 2009 亞洲藝術雙年展」，國立台灣美術館，台中，台灣

2010

「疏遠的節奏」，大趨勢畫廊，台北，台灣「莊普地下藝術展」，台北市立美術館，台北，台灣

2011

「粼粼」，財團法人榮嘉文化藝術基金會，新竹，台灣「第 26 屆亞洲國際美展」，首爾藝術中心漢嘉阮美術館，首爾，韓國「複感 • 動觀－ 2011 海峽兩岸當代藝術展」，中國美術館，北京，中國

2012

「斜角上遇馬遠」，大趨勢畫廊，台北，台灣「末日漂流」，關渡美術館，台北，台灣

2013 2014

「閃耀的星塔」， Apartment of Art ，慕尼黑，德國「光陰的聚落」，大趨勢畫廊，台北，台灣「召喚神話」，大趨勢畫廊，台北，台灣「第八屆深圳雕塑雙年展」， OCT 當代藝術中心，深圳，中國「青春－誠品 25 週年特展」，誠品畫廊，台北，台灣「形色版圖」，大趨勢畫廊，台北，台灣

2015

「超驗與象徵－台灣新造形藝術展」，尊彩藝術中心，台北，台灣

獲獎 1984 1992 2007 2009

中國現代繪畫新展望台北市長獎，台北市立美術館，台北，台灣台北現代美術雙年展獎，台北市立美術館，台北，台灣文建會第一屆公共藝術獎，最佳創意表現獎，台北，台灣伊通公園獲得第十三屆台北文化獎，台北市政府文化局，台北，台灣

典藏 1984 1989 1992 1994 1998 2000 2009 2010

台北市立美術館，台北，台灣日本原美術館，東京，日本台北市立美術館，台北，台灣日本濱港邊畫廊，橫濱，日本國立台灣美術館，台中，台灣高雄市立美術館，高雄，台灣國立台灣美術館，台中，台灣台北市立美術館，台北，台灣

CHRONOLOGY 1969 1978 1979 1997 1998 1999 2000 2001 2002 2004 2005 2006

2008 2009

2010 2011

2012 2013 2014

2015

Fu-Hsin Trade and Arts School, Taipei, Taiwan La Escuela Superior de Bellas Artes de San Fernando de Madrid, Madrid, Spain “Group Exhibition of Chinese Artists in Europe”, Galeria Kienlong, Brussels, Belgium “Splits and Gatherings: The 47th International Venice Biennial Exhibition”, Venice, Italy “Masters of Today and Young Artists Exhibition – Special 40th Anniversary Exhibition”,Paris, France “Inside Out / New Chinese Art”, P.S.1 Contemporary Art Center, New York; San Francisco Contemporary Art Museum, San Francisco, USA “On Line,” Eslite Gallery, Taipei, Taiwan “A the Game of Words”, University Buffalo Art Gallery, Buffalo, NY, USA “Taipei Contemporary Art Exhibition”, Shanghai Museum of Modern Art, Shanghai, China “Chinese Ink Tree”, Cambio Constante III, Monasterio de Veruela, Zaragoza, Spain “Taiwan Contemporary Art Exhibition”, Diocesan Museum of Barcelona, Barcelona, Spain “The Spectacular Snore”, IT Park, Taipei, Taiwan “Le Salon 2006”, Grand Palais, Paris, France “PASS”, Nagoya University of Arts, Nagoya, Japan “Art Trend in Taiwan, 1950-2000”, National Art Museum of China, Beijing, China “I Hate Takashi Murakami”, IT Park, Taipei, Taiwan “Art is Alive”, Busan Biennale 2008, Busan Museum of Modern Art, Busan, Korea “Exhibition by Tsong Pu and Wu Tien Chang”, Art Beijing 2009, Beijing, China “First Connect – Contemporary Art Exhibition”, 99 Art Space, Kunming, China “Viewpoints & Viewing Points – 2009 Asian Art Biennial”, National Taiwan Museum of Fine Arts, Taichung, Taiwan “Art from the Underground”, Taipei Fine Arts Museum, Taipei, Taiwan “Estranged Rhythm”, Main Trend Gallery, Taipei, Taiwan “Gleamingly Gleaming”, Yeh Rong Jai Culture & Art Foundation, Hsinchu, Taiwan “The 26th Asian International Art Exhibition”, Hangaram Art Museum of Seoul Arts Center, Seoul, Korea “Dual Senses and Dynamic Views – Contemporary Art Exhibition Across the Taiwan Straits of 2011”, National Art Museum of China, Beijing, China “Ma Yuan at A Corner”, Main Trend Gallery, Taipei, Taiwan “Drifting Towards an End”, Kuandu Museum of Fine Arts, Taipei, Taiwan “Der Turm der leuchtenden Sterne”, Apartment of Art, Munich, Germany “Settlement of Time”, Main Trend Gallery, Taipei, Taiwan “Beckoning to a Myth”, Main Trend Gallery, Taipei, Taiwan "The 8th Shenzhen Sculpture Biennale 2014", OCAT, Shenzhen, China “25 Anniversary”, Eslite Gallery, Taipei, Taiwan "Beyond Frontiers of Color and Form", Main Trend Gallery, Taipei, Taiwan “Transcendence and Symbol: The Exhibition of Neoplastic Art in Taiwan”, Liang Gallery, Taipei, Taiwan

AWARDS 1984 1992 2007 2009

Taipei City Mayor Award for a New Vision of Contemporary Chinese Painting, Taipei Fine Arts Museum, Taipei, Taiwan The Taipei Biennial of Contemporary Art, Taipei Fine Arts Museum, Taipei, Taiwan The Best of Creativity, The 1st Public Art Awards, Council for Cultural Affairs, Taipei, Taiwan The 13th Taipei Culture Award, IT Park Gallery, Taipei City Government’s Department of Cultural Affairs, Taipei, Taiwan

COLLECTIONS 1984 1989 1992 1994 1998 2000 2009 2010

Taipei Fine Arts Museum, Taipei, Taiwan Hara Museum of Contemporary Art, Tokyo, Japan Taipei Fine Arts Museum, Taipei, Taiwan Minato Gallery, Yokohama, Japan National Taiwan Museum of Fine Arts, Taichung, Taiwan Kaohsiung Museum of Fine Arts, Kaohsiung, Taiwan National Taiwan Museum of Fine Arts, Taichung, Taiwan Taipei Fine Arts Museum, Taipei, Taiwan

莊普｜ TSONG Pu

簡歷｜ Biography

圖版

Artworks

趙春翔 CHAO Chung-Hsiang 1910~1991

處變不驚

Remaining Calm 壓克力、水墨、紙本

Acrylic and ink on paper 176 × 297cm 1986

趙春翔｜ CHAO Chung-Hsiang

節日

Holiday 壓克力、水墨、拼貼紙本

Acrylic, ink, collage on paper 99 × 119cm 1969

趙春翔｜ CHAO Chung-Hsiang

竹塘

Chutang 壓克力、水墨、紙本

Acrylic and ink on paper 77.5 × 66cm

趙春翔｜ CHAO Chung-Hsiang

依偎

Cuddling 壓克力、水墨、紙本

Acrylic and ink on paper 56.5 × 54.5cm

趙春翔｜ CHAO Chung-Hsiang

楚戈 CHU Ko 1931~2011

吾道一以貫之

In the Way I Follow 壓克力、水墨、畫布

Acrylic and ink on canvas 144 × 187cm 1997

楚戈｜ CHU Ko

原初的結構

Primal Structure 壓克力、水墨、畫布

Acrylic and ink on canvas 150 × 153cm 1997

楚戈｜ CHU Ko

在星球間嬉戲

Sporting between the Planets 水墨、紙本

Ink on paper 58.3 × 89.2cm 2007

楚戈｜ CHU Ko

結構主義之八

Structuralism - 8 水墨、紙本

Ink on paper 92 × 105.5cm 1995

楚戈｜ CHU Ko

山色何曾有是非

There Is No Right or Wrong in the Nature 水墨、紙本

Ink on paper 59.5 × 83.5cm

楚戈｜ CHU Ko

今日之悟

Today's Awakening 水墨、紙本

Ink on paper 50 × 69.8cm

想停而未停的時間

I Want to Stop the Unstoppable Time 水墨、紙本

Ink on paper 31.5 × 57.4cm

楚戈｜ CHU Ko

我是北地忍不住的春天

I Am the Spring in the Northern Land That Cannot Be Denied 水墨、紙本

Ink on paper 35 × 56cm

造山運動

Orogeny 水墨、紙本

Ink on paper 31 × 57cm

林壽宇 Richard LIN 1933~2011

紙上作品

Work on Paper 複合媒材

Mixed media 39.5 × 55.5cm 2009

林壽宇｜ Richard LIN

紙上作品 4

Work on Paper 4 複合媒材

Mixed media 39.5 × 55.5cm 2008

林壽宇｜ Richard LIN

無題 IV Sans Titre IV 絹印版畫

Screen print 73.5 × 104.5cm 2010

林壽宇｜ Richard LIN

構成－白

Composition – White 絹印版畫

Screen print 73.5 × 104.5cm 2010

構成－灰

Composition – Gray 絹印版畫

Screen print 73.5 × 104.5cm 2010

李重重 LEE Chung-Chung 1942

蝴蝶效應

Butterfly Effect 水墨設色、紙本

Ink and color on paper 96 × 106cm 2014

李重重｜ LEE Chung-Chung

102

二分之一紅

Half Red 水墨設色、紙本

Ink and color on paper 95.3 × 106cm 2014

李重重｜ LEE Chung-Chung

104

靜觀自在

Observing at Ease 水墨、紙本

Ink on paper 138.6 × 70.5cm × 2 2015

李重重｜ LEE Chung-Chung

106

風起雲湧時

Surging Time 水墨設色、紙本

Ink and color on paper 90.6 × 89.3cm 2014

李重重｜ LEE Chung-Chung

生活的牧歌

Pastoral Song of Life 水墨設色、紙本

Ink and color on paper 59 × 90.4cm 2013

108

心中的圖象

A Picture in My Heart 水墨設色、紙本

Ink and color on paper 68 × 69cm 2015

李重重｜ LEE Chung-Chung

東方的凝視

Oriental Gaze 水墨設色、紙本

Ink and color on paper 69.5 × 68cm 2014

110

冷月

Cold Month 水墨設色、紙本

Ink and color on paper 34.5 × 46cm 2005

李重重｜ LEE Chung-Chung

雲山如夢

Cloudy Dreams 水墨設色、紙本

Ink and color on paper 34.2 × 42cm 2005

112

莊普 TSONG Pu 1947

遨遊四方－黃

Travel Around – Yellow 壓克力、畫布

Acrylic on canvas 80 × 65cm 1983

莊普｜ TSONG Pu

116

燈把自己傳達給誰？

Where Does the Light Transmit to? 壓克力、畫布

Acrylic on canvas 200 × 300cm 2015

莊普｜ TSONG Pu

118

書架上的微光

Glimmer on the Book Shelf 壓克力、畫布

Acrylic on canvas 71 × 90cm 2015

莊普｜ TSONG Pu

開放的水平

Level of Openness 壓克力、畫布

Acrylic on canvas 71 × 90cm 2015

120

光與水的移位

Transposition of Light and Water 玻璃、鐵板、水、墨

Glass, iron, water, ink 尺寸依場地而定（ 9 件一組）

Size varies according to the size of the space (a set of 9 pieces) 1992

莊普｜ TSONG Pu

122

消失與再生

Evanescence and Rebirth 壓克力、畫布

Acrylic on canvas 168 × 112cm × 2 2012

莊普｜ TSONG Pu

124

圖錄

Catalog

趙春翔｜ CHAO Chung-Hsiang

節日

Holiday

處變不驚

壓克力、水墨、拼貼紙本

Remaining Calm

Acrylic, ink, collage on paper 99 × 119cm / 1969

壓克力、水墨、紙本

Acrylic and ink on paper 176 × 297cm / 1986

P72

P69-P70

依偎竹塘

Cuddling

Chutang

壓克力、水墨、紙本

Acrylic and ink on paper 77.5 × 66cm P74

Acrylic and ink on paper 56.5 × 54.5cm P76

楚戈｜ CHU Ko

圖錄｜ Catalog

在星球間嬉戲

Sporting between the Planets 水墨、紙本

吾道一以貫之

原初的結構

In the Way I Follow

Primal Structure

壓克力、水墨、畫布

Acrylic and ink on canvas 144 × 187cm / 1997

Acrylic and ink on canvas 150 × 153cm / 1997

P80

P82

山色何曾有是非結構主義之八

Structuralism - 8 水墨、紙本

There Is No Right or Wrong in the Nature

P84

今日之悟

Today's Awakening 水墨、紙本

水墨、紙本

Ink on paper 59.5 × 83.5cm

Ink on paper 92 × 105.5cm / 1995

Ink on paper 58.3 × 89.2cm / 2007

P87

Ink on paper 50 × 69.8cm P88

P86

想停而未停的時間

I Want to Stop the Unstoppable Time

我是北地忍不住的春天

造山運動

水墨、紙本

I Am the Spring in the Northern Land That Cannot Be Denied

Orogeny

水墨、紙本

Ink on paper 31 × 57cm

Ink on paper 31.5 × 57.4cm P89

Ink on paper 35 × 56cm

水墨、紙本

P90

128

林壽宇｜ Richard LIN

紙上作品

Work on Paper 複合媒材

Mixed media 39.5 × 55.5cm / 2009

紙上作品 4

Work on Paper 4

無題 IV

複合媒材

Sans Titre IV

Mixed media 39.5 × 55.5cm / 2008

絹印版畫

P94

P96

Screen print 73.5 × 104.5cm / 2010 P97

構成－白

Composition – White 絹印版畫

Screen print 73.5 × 104.5cm / 2010 P98

構成－灰

Composition – Gray 絹印版畫

Screen print 73.5 × 104.5cm / 2010 P98

李重重｜ LEE Chung-Chung

蝴蝶效應

二分之一紅

Butterfly Effect

Half Red

水墨設色、紙本

Ink and color on paper 96 × 106cm / 2014

Ink and color on paper 95.3 × 106cm / 2014

P102

圖錄｜ Catalog

靜觀自在

P104

Observing at Ease 水墨、紙本

Ink on paper 138.6 × 70.5cm × 2 / 2015 P105-P106

生活的牧歌

Pastoral Song of Life 風起雲湧時

Surging Time

水墨設色、紙本

心中的圖象

Ink and color on paper 59 × 90.4cm / 2013

A Picture in My Heart

水墨設色、紙本

P108

Ink and color on paper 90.6 × 89.3cm / 2014

P109

P107

冷月

Cold Month 東方的凝視

水墨設色、紙本

Oriental Gaze

Ink and color on paper 34.5 × 46cm / 2005

水墨設色、紙本

Ink and color on paper 69.5 × 68cm / 2014

水墨設色、紙本

Ink and color on paper 68 × 69cm / 2015

P111

雲山如夢

Cloudy Dreams 水墨設色、紙本

Ink and color on paper 34.2 × 42cm / 2005 P112

P110

130

莊普｜ TSONG Pu

燈把自己傳達給誰？

Where Does the Light Transmit to? 壓克力、畫布

Acrylic on canvas 200 × 300cm / 2015

遨遊四方－黃

P117-P118

Travel Around – Yellow 壓克力、畫布

Acrylic on canvas 80 × 65cm / 1983 P116

書架上的微光

開放的水平

Glimmer on the Book Shelf

Level of Openness

光與水的移位

壓克力、畫布

Transposition of Light and Water

Acrylic on canvas 71 × 90cm / 2015

P119

玻璃、鐵板、水、墨

Glass, iron, water, ink

P120

尺寸依場地而定（ 9 件一組） / 1992

Size varies according to the size of the space (a set of 9 pieces) P121-P122

消失與再生

Evanescence and Rebirth 水墨設色、紙本

Ink and color on paper 168 × 112cm × 2 / 2012 P123-P124

圖錄｜ Catalog

132

2015.12.19

2016.01.31

發行人 Executive Director

余彥良 Yu Yen-Liang

總經理 Director

陳菁螢 Claudia Chen

出版者 Publisher

尊彩國際藝術有限公司 Liang Gallery Co., Ltd.

策劃設計 Editor

尊彩藝術中心 Liang Gallery

攝影 Photographer

劉光智、黃嘉達 KC, JD

設計 Designer

劉銘維 Liu Ming-Wei

印刷 Printing

日動藝術印刷有限公司 Jih-Tung Art Printing Co., Ltd.

出版 Publishing Date

2016 年 1 月初版

ISBN

978-986-92798-0-2

First Edition, January, 2016