Unleash TheBig Green Dog: A collector’s story of Contemporary Artist Zhou Chunya

目次

推薦序一 藝術家 周春芽

010

三、湧動生命力：綠與狗

推薦序二 典藏藝術社長 簡秀枝

012

前言

068

推薦序三 收藏家 蕭仲景子女

015

1996 《黑根》

074

序言 --- 三十年珍藏周春芽

016

1997 《綠色的黑根》

078

導讀 --- 既無分類，如何欣賞

020

2002 《綠狗》

084

2001 《綠色的黑根（二）》

085

2005 《綠狗 No.1》

088

一、溫柔與暴烈：人體與石 前言

022

2011 《綠狗》

092

1992 《駿馬》

026

2005 《綠狗》

094

1992 《與石頭連在一起的人體》

028

2012 《Alive and Kicking》

098

1992 《女人體》

030

2005 《綠狗（小）》

102

1993 《人體的組合 93 年 3 號》

036

2006 《綠狗（中）》

103

1993 《頭像》

038

2007 《綠狗（大）》

104

1994 《褐色的半身人體》

040

1994 《女人體（二）》

042

四、天生爛漫：艷紅桃花

1995 《裸女》

044

前言

106

1996 《裸女背影》

046

1997 《菊花》

110

1997 《桃花二號》

114

1998 《紅人》

118

2009 《桃花》

124

2009 《桃花系列》

130

2019 《瘦西湖邊的那棵桃樹》

134

2021 《桃花》

138

五、 藝術品索引

144

二、心中丘壑：山石系列

006

前言

048

1992 《巴朗山之旅》

052

1993 《石頭》

054

1995 《山石系列》

058

1998 《中國山水》

060

1999 《山石圖》

062

2000 《太湖石》

064

Contents

Preface One: Artist Zhou Chunya

010

III. Rising Force of Life: Green Dog Series

Preface Two: Art Investment Director Hsiu Chih Chien

012

Introduction

Preface Three: Collector’s Son and Daughters

015

1996 Heigan

Forward: Fresh Perspective Driven by Relentless Passion 016

1997 Green Heigan

Reading Guide

2002 Green Dog

020

068

074

084

2001 Green Heigan II

2005 Green Dog No. 1

I. T enderness and Violence: Human Body and Rock

078

085

088

Introduction

022

2011 Green Dog

092

1992 Horse

026

2005 Green Dog

094

028

2012 Alive and Kicking

098

030

2005 Green Dog (Small)

102

036

2006 Green Dog (Medium)

103

038

2007 Green Dog (Large)

104

1992 Rock and Nude

1992 Female Nude

1993 Combination of Nudes No.3 1993 Head

1994 Brown Torso

040

1994 Female Nude II

042

IV. A Born Romantic: Peach Blossoms Series

1995 Female Nude

044

Introduction

046

1997 Chrysanthemum

1996 Nude from the Back

106

110

1997 Peach Blossoms No. 2 1998 Red Man

II. Mindscape: the Rock Series Introduction

048

1992 Trip to Balang Mountain 1993 Rock

1995 Rock Series

054

058

1998 Chinese Landscape

1999 Mountain Rock 2000 Taihu Lake Stone

052

060 062

2009 Peach Blossoms

114 118

2009 Peach Blossoms Series

124

130

2019 Peach Tree by Slender West Lake

134

2021 Peach Blossoms

138

V. Artwork Index

144

064

007

特此感謝 資深藝術收藏家 比俊股份有限公司 許宗煒 董事長指導

PREFACE 序

009

推薦序一

當代藝術家 周春芽

1989 年我從德國留學回國，對藝術的未來充滿信心。我希望自己能把在德國和在歐洲 看到的、學習到世界美術史知識，和世界當代藝術發展的新觀念和技術，運用到我的藝術實 驗當中，我開始嘗試一些新的觀念和方法。由於三年身處西方文化的實際體驗之中，更加深 刻的明白了東西方文化的差異，以及各自弱點和優勢。那個時候的藝術市場像是一片未開墾 的荒地，很多藝術家都還不知道或者不清楚藝術還可以成為一種商品，對藝術的理想和單純 執著地追求也使很多藝術家反而能沉下心來創作。這種對藝術創作的耐心和韌性，都對藝術 家面對之後複雜的藝術發展，以及激烈的藝術市場競爭有所幫助。 九十年代初雖然藝術市場已經開始，但是收藏家還不是很多。如果不是有畫廊對藝術家 的支持，可能藝術家也很難堅持自己的藝術理想。1991 年，我有幸與臺北北莊畫廊結緣。 跟北莊林永山先生的合作非常愉快，因為他不限制我，我可以完全按照自己的意願去創作。 有了比較穩定的經濟保障之後，我第一次有了自己的畫室、也有了進口的畫布和顏料。我開 始完全輕鬆放開地，去對自己的藝術進行一些新的探索和實驗一些新的想法。 知道蕭仲景先生，是在他 1992 年開始系統收藏我作品的時候。他和我一樣，都是愛狗 之人，我們都曾將德國狼犬視作我們最親密的朋友和家人，最終我們也都因為失去了牠們而 傷心悲痛不再養狗。可能正因為此，在當時我的狗的題材還沒有完全獲得市場認同的情況 下，他就一直關注和收藏，特別是觀念性比較強的綠狗系列。蕭先生在我的藝術市場初期發 展時期就是非常重要地支持者。在 2005 年中國藝術市場進一步井噴式發展時，他又一次比 較大量和集中的收藏了我各種不同時期風格的作品，還特別關注和收藏了我新題材的作品。 從 1992 年至今，已經三十年了，他的堅定和堅持常常讓我十分感動跟感激！這是對藝術家 最重要的鼓勵！我有一張蕭先生年輕時候的照片，他穿著當時流行的喇叭褲牽著一條狼犬， 那條德國狼犬跟我的黑根長得十分相像。雖然我現在不再創作狗的題材，但我們之間早已通 過對藝術的感知結下了深厚的友誼。這種友誼和情感在桃花的題材創作和收藏中延續下去， 甚至在我的新題材中體現出來！大自然中永恆的主題，支撐著人類情感的聯繫和延續。我總 認為收藏和藝術創作是一致的，是有理想的，對社會、對自然、對人性的表達是一致的。 三十年前初識蕭先生，他一個人在台中經營事業，太太帶著三個子女在加拿大生活讀 書，藝術是他孤身寂寞時的安慰。而現在，優秀的子女們悉數學成歸來，他們全家用他們對 於藝術的熱愛和情感，以及豐富的經驗，致力於藝術推廣工作。但願通過他們的努力，有更 多人能感知到藝術的美好。

010

推薦序二

情感、文化、美學 笑看周春芽與蕭仲景狗緣藝藏人生… 典藏藝術社長 簡秀枝 伯樂與千里馬的故事，傳唱古今，而藝術家與收藏家之間，除了才華氣度的惺惺相惜外， 還有情感的認同，以及文化美學上的不藏私。台灣收藏家蕭仲景，是知名中國藝術家周春芽 （1955-）的收藏大戶，他們緣起竟然是德國狼犬。

1993 年，周春芽在友人處，見到一隻大黑背，被牠深深吸引，於是抱回狗仔，取名「黑 根」。黑根常伴周春芽，生活了 6 年，在孤獨的藝術生活中，對於周春芽不只是生活上最親蜜 的夥伴，更像家人，不棄不離，一個吠聲，一記眼神，都傳達了彼此的關懷。周春芽心血來潮 提筆就畫黑根，勾勒牠的外型，有時抖擻昂揚、恣意跳脫，也有時，氣急敗壞、失意消沈。熟 記牠的形影肢體， 領悟牠的顰笑悲喜，更探索牠的靈魂，憂鬱帶淚的顏容，還有遲暮回眸的眼 神，都令人刻骨銘心。中國水墨的線條、空間留白，西洋繪畫的肌理結構、筆韻、觸感與速度， 在虛實意境中，有著旺盛的生命張力，周春芽也拿畫黑根， 實驗他的中西合壁觀。藝術家透過 畫黑根，傳遞他內心最溫暖、忠誠、關懷和信任的情感。1999 年，黑根病逝，對周春芽來說， 有如 1969 年他 14 歲那年， 父親去世，一切無所適從，也萬念俱灰，幾乎有一年半的時間裡， 他完全無法提筆作畫。周春芽從悲痛中逐漸走了出來，彷彿有了「黑根」附體，他變得積極進取， 也更加地熱愛生命。神來之筆的綠狗，有如韜光養晦的周春芽之後， 塞進更多的生命智慧、有 喜捨放下的體驗，有夢想與企圖心的編織，是旺盛藝術生命力的再出發。 本業建築的台灣收藏家蕭先生，也有動人的故事，注意到周春芽愛畫狗，畫的又是他摯愛 的德國狼犬，1993 年正式收藏周春芽「黑根系列」。蕭先生也是愛狗之人，曾經把自己從小養 大的三隻德國狼犬，當作最親密的朋友和家人， 但再深的感情也終需面臨訣別，漫長的傷逝中， 蕭先生誓言不再養狗。周春芽想念他的德國狼犬，一年半的療傷止痛之後，拼命畫狗寄相思。 當時狗的題材，完全沒有市場認同，他為愛而畫，一幅接著一幅。蕭先生也在狗哀逝中，憂傷 過日子。偶然間，他看到周春芽的「黑根系列」，深受感動，他覺得是他自己深愛的德國狼犬 轉世再現。蕭先生深受感動下寄了自己與狼犬的照片給藝術家，謝謝他畫活了他的德國狼犬， 藝術家對於照片中，穿著啦叭褲的年輕企業家，竟會買他冷門的「黑根」系列，心存共鳴之心 與感動。 周春芽以畫筆，畫他記憶中的狼犬；蕭仲景用收藏，留住他刻骨銘心的狼犬，果然，愛如 潮水，無心插柳的藝術人生，妙不可言。他們從德國狼犬的思念，聊到個人生活上的孤寂，情 感寄託與文化美學信念，他們發現彼此價值觀非常相似。從此拉出了數十年的交誼，除了「黑 根系列」、「石頭系列」、「風景系列」、「藏人系列」…，蕭仲景在愛烏及屋的心情下，一 路有系統的收藏，連觀念性強的其他系列作品，他也來者不拒。因為他非常篤定，也深受感動，

012

認為周春芽有情有義有愛，藝術家的回憶、情感、文化、美學與信仰，都融入創作中，令觀者 可以抽絲剝繭，千思萬緒，百看不厭。 蕭先生夫妻望子女成龍成鳳心切，夫妻分工，先生在台灣打拼事業，太太帶著三個孩子， 遠飛加拿大求學。夫妻分隔兩地，靠著堅定的信念，撐過每一個晨昏朝暮，月圓星落，蕭先生 選擇了投入藝術收藏，繁重的工作之餘，他躲進藝術的溫柔鄉，嚴作功課，勤跑展場，徜徉在 精神的避風港中，一步一腳印，搭建了他的藝術收藏寶庫。 出生重慶的周春芽，畢業於四川美院，他趕上 1978 年以來該學院的「傷痕」和「鄉土」 時期，那是當代繪畫發展，得益於改革開放，創造的歷史機遇，湧現出一批影響中國畫壇的藝 術家。周春芽於 1982 年從四川美術學院繪畫系版畫專業畢業後，追隨著同時期藝術家腳步投 入新潮運動，脫離中國傳統學術上的現實主義學派，取而代之的是注入更多個人詮釋，該時期 的作品，洋溢實驗性色彩。1986 至 1988 年，周春芽赴德國深造，在德國卡塞爾綜合大學自由 藝術系研究，曾專注於改變整體環境，並浸淫印象派、立體主義以及表現主義當中，在學習的 過程中，讓他找到自己在新表現主義，獨樹一格的特性，同時也促成他對東西合璧的思考，是 中國當代表現主義的傑出畫家之一。

1990 年代初期的中國大陸藝術市場，像是一片荒煙地，誠如周春芽自己所形容，當時很 多藝術家都還不知道藝術可以變成商品買賣，更不用說會因藝術創作被收藏，搭結兩岸三地的 深厚友誼。隨著兩岸三地華人藝術市場的鵠起，蕭先生妻女在國外，平時，不是忙建築，就是 追藝術，研究拍賣目錄，越收越專業，也越具心得。他對周春芽的作品，更是情有獨鍾，代表 德國狼犬的「黑根」、「綠狗」系列外，其他不同時期風格的重要作品，蕭先生不惜追價搶標。 蕭先生從 1992 年收藏至今，黑根、綠狗、桃花、太湖石、藏族風情，既完整又精彩，足可以 讓他在「台北大院子」舉辦「周春芽收藏專展」，近 40 幅的精品，向他們的 30 年友誼致敬。 周春芽扎實的基本功，中西藝術訓練與眼界，信手拈來，成果累累，尤其在中國崛起的 30 年大運中，過關斬將，登峯造極，是在世中國存世的中國當代藝術群中，名列前茅。俄國哲學 家托爾斯泰（Tolstoy，1828-1910）曾說，「藝術不是技藝，它是藝術家情感的體驗與傳達，

藝術的價值，首重情感」。匈牙利作曲家李斯特（Liszt Ferencz，1811-1886）也說 :「一切 藝術，都是綻開在枝繁葉茂的知識之樹上，而且花團錦簇，藝術的文化價值無法阻擋」。 羅丹（Auguste Rodin，1840-1917）更說 :「美是到處都有的，對於我們的眼睛，不是缺

少美，而是缺少『發現』美與收藏美的能力與機緣，可見藝術的美學價值， 其來有自」。 「看山是山，看水是水；看山不是山，看水不是水；看山還是山，看水還是水」， 這是佛家禪宗提出的人生三重境界，也是佛家在參禪的時候，必然經歷的三個過程。 回首前塵，狗緣永生、友誼長存，而藝術力量，更是千秋萬世。如同回到佛家的最高境界，

「看山還是山，看水仍是水」的人生維度，尤其，回首向來蕭瑟處，歸去，也無風雨也無晴！

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014

推薦序三

收藏家蕭仲景子女 蕭偉廷 蕭華薇 蕭又華 自我們有記憶以來，父親就是一位收藏家。他年輕時喜歡逛畫廊，家中總是掛滿藝術品， 也樂於邀請朋友來家裡作客，並總是熱情的介紹近期喜歡上的藝術家給大家。獨自在家中的時 光，常常沏好熱茶，窩進書房，翻閱著他從海外特別購得的畫冊，雖然他不熟識英文、法文， 但是他喜歡慢慢研究畫冊中的油畫。 父親買藝術品是非常主觀的，並不會詢問他人的意見。總感覺他不太會表達自己的情感， 對於很多事情都是以淺淺的微笑回覆。這樣的性格或許源於他的父母，我的爺爺奶奶皆是受日 本教育，因而也培養出父親傳統又認命的性格，他用堅強的一面來面對生活中的大小事，卻只 有在談到藝術的時候，才會流露出孩子般的熱情眼神。 家裡的畫作常常隨季節交替，其中卻只有周老師的作品是長年不會移動。也許是因為周春 芽老師與父親有太多相似之處，在早年失去自己的父親，也都是靠自己努力走過來的人，讓父 親對周老師的畫作衍生了獨特的情感。 父親曾養過三隻狼犬，每隻都是他從小培訓的，其中一隻卻意外在家門外被車撞死。爸爸 跟我們說「這份失去的痛苦他無法再次經歷」，因此他再也不養狗了，更鮮少提及這些往事； 這份痛苦就像周老師失去愛犬後有陣子無法再提筆一樣，或許這就是父親對周老師的大綠狗圖 像情有獨鍾的原因吧？父親雖然在外總是給人剛毅的形象，但他的內心其實是非常純真且感性 的。他看到周老師的黑根圖像，我們能深刻的體會他發自內心的快樂，可能周老師的畫作會引 導他想起年輕時與三隻狼犬的回憶。父親醉心於藝術，也一直認爲周春芽老師的作品最能撫慰 他的心靈。 母親陪我們出國讀書近十年，父親獨自一人在台灣打拼。我問他 :「會不會寂寞 ?」 「我看畫的時候就不寂寞了」爸爸這樣說道。我們很感謝周春芽老師與父親之間的友情， 也謝謝他的大綠狗在我們沒辦法陪伴父親的時候給予他陪伴，成為他精神的糧食。我們回台工 作後，父親帶著我們一起做事業。進入藝術領域，同時也讓我們更了解自己的父親。其實他的 快樂很簡單，他喜歡跟家人在一起，喜歡喝茶、喜歡看畫，我們希望透過這個展覽，讓他可以 分享這份喜悅，也能讓更多人可以欣賞周老師各個時期的經典佳作。

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序言

三十年珍藏周春芽

九○年代的臺灣彌漫在濃厚的藝文氛圍中，1993 年台中舉辦畫廊博覽會，其中，小雅畫 廊搜羅了一批周春芽於 1992 年的系列作品「山石與人體畫作」。周春芽有很強的寫實功力， 其奔放流動的線條、細緻的肌理、濃烈堆疊的色彩與極為細膩的走筆，在這些半抽象的畫作中 皆可窺見，而帶著神秘深色調的畫作氛圍，更牽引著蕭先生的視覺神經。

1986 至 1989 年，周春芽赴德留學間，參訪諸多美術館、博物館，瞭解了歐洲盛行的藝術 潮流，並受到新表現主義的影響。然而周春芽不僅是接受西方藝術思潮， 更近一步結合了中國 文人畫的元素，發展出屬於他的標記。 周春芽的畫作在肌理與質感上花費很大的功夫，極富想像地去補捉那些潛藏在石頭中的自 然調性。此時期諸多石頭的繪畫靈感來自四川雅安，周春芽以絢爛迷離的色彩展現當地奇特的 風景，並加諸人體與山石的結合，在幽暗之中透露濃豔、大膽的人物姿態，使畫作在神秘寧靜 的氛圍中暗湧著動態。「我的理想是動態的、敏感的表現而不是靜態、模式化的呈現。」這 是周春芽創作的信念，也是蕭先生為之著迷的原因之一。 山石系列後，周春芽推出了鮮豔活潑的「綠狗系列」，以疼愛的德國牧羊犬「黑根」為主題， 在一次偶然的嘗試下，將原先的黑毛色畫為綠色，當時張曉剛和他說 :「這個綠狗很有一種觀

念性」。周春芽亦是驚喜的，認為偶然和意外比較有活力，並能帶給人想像力。 「綠狗是一個符號、一種象徵。綠色是寧靜的、浪漫的、抒情的，它包含了爆發前的寧 靜意義。」- 周春芽

2003 年，透過正在代理周春芽作品的北莊畫廊，蕭先生持續堅定地收藏周春芽的作品， 更對其極富擬人情感的「綠狗」系列情有獨鍾 :「第一次看到有人把『狗』畫得如此真實，

直逼人的神態。」畫布上的綠狗，有的狂野歡愉、有的迷惘笨拙、有的孤苦伶仃，卻都擁有如 出一轍的填實質感、迸發出豐沛的生命能量。黑根對於周春芽而言是如同家人的存在，繪筆線 條均飽含情感，這樣生動的畫作亦使蕭先生憶起從前家中樣貌極為相似的狼犬，使得這份喜愛 除了直覺之外，更增添了一份與自身記憶的連結。周春芽希望自己筆下的形象能在不同的文化 背景、不同的媒材領域流動。綠狗系列的作品除了畫作外，更另外以雕塑呈現，使綠狗的原始 生猛與隱含其中的威脅有了更鮮明的展現，「綠狗」以不同媒材的形式具現，讓藝術家有了更 多元的表現，亦豐富了蕭先生的收藏。

1999 年黑根病逝，周春芽在哀慟之中停止繪畫綠狗，半年來鮮少動筆，後到蘇州遊玩散心， 因為先前畫雅安石的經驗使他特別注意到園林的石頭，像是有著人工痕跡、姿態精緻的太湖石， 他認為這些石頭既是天然又是人工的，突顯的是瘦皺透漏醜，別有天趣。在這樣的境況下開啟 了太湖石系列，畫面上不僅是形態與結構，色澤、肌理、質地上皆有豐富而細緻的表現，無論 是自然的雅安石，抑或是帶著人工刻痕的太湖石，皆以細膩的筆繪呈現出屬於石頭的迥異神秘 風貌。

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而太湖石後，又是一次偶然和意外成就的亮麗驚喜「桃花系列」。其實早在 1997 年已有 桃花作品的誕生，但當時僅是作為陪襯。2005 年春天，周春芽在龍泉驛被盛放整片、漫山遍野 的桃花所震撼，於是大片的桃花綻放於他的畫布，看那畫面桃花嬌艷，枝檊如鐵。 從人體與山石、綠狗、太湖石到桃花，周春芽總在做更新的突破與轉變，像是充滿藝術細 胞的體內亦有燦然的四季輪轉，蕭先生說 :「周春芽給人年輕感覺，相處起來很溫和舒服。」 身為藝術家、策展人、評論家的漆瀾亦說 :「跟春芽在一起，你會年輕。」 形容他是一個精 神零負擔的人，可以把不愉快的事情在瞬間切換為善意和樂觀，幻化出春天的朝氣。他的作品 色彩繁複，筆觸看似輕盈卻又精準，充滿跳躍性的節奏感，也許便是這樣人如其畫、畫如其人 的特殊律動，深深觸動著蕭先生。直到現在，蕭先生仍持續收藏各式各樣不同的藝術作品，隨 著時光流逝，周春芽的畫作依然吸引著他的目光。蕭先生悠悠回顧說 :「當時在畫廊博覽會看

見周春芽的作品，第一眼就被吸引住，從此開拓了藝術的另一份視野。從早期開始喜歡， 此後便一往情深。」 周春芽為藝術拍賣公司的蕭董事長開拓出嶄新視野，宛如在他心中開出一片恒久的春天， 讓我們一同走入這趨近三十年的收藏光陰，感受藝術充盈人心的浪漫。 周春芽 「畫如其人，湧現生命力」 周春芽，人如其名，「春芽」二字在他的畫作中充分展現出來，蘊含著初始的創造和生猛， 在勢不可擋的生命力中又帶著陣陣溫柔。經過獨特的藝術家之眼，他筆下淋漓的構圖與線條都 彷彿帶著靈魂。 周春芽在 1955 年於中國重慶出生，1982 年在四川美術學院畢業，1986 至 1988 年間， 遠赴德國卡爾賽綜合大學攻讀自由藝術系，周春芽懷著「想學習西方最好的，想成為全世界

最好的畫家。」的心志抵達西方，當時德國新表現主藝風靡歐洲，其濃烈斑斕的色彩、強烈的 情緒渲染力令他震撼，然而西方式的生活體驗卻引發他對自身傳統文化的眷戀與熱情。在這樣 的生命背景下，他將所學所見的一切結合東方人文藝術精神，尋出一種自己的表現性語言。在 四十餘年的創作中，不斷轉化，「山石」、「桃花紅人」、「綠狗」等知名母題先後破繭、盛放， 眾多藝術機構與藏家爭相搜藏，並在諸多重要的國際展覽中展出。 周春芽於自身步調之中創新，他學習了法國所謂表現主義的直接、色彩的強烈，應用到中 國文人畫的隱藏、做作，顛覆傳統的認知，揭穿其中的曖昧，以醜為美，以失序掩蓋原有秩序， 畫面上讓觀者心神不寧，惴惴不安，這是一種截取人心的技法。除了技法之外，周春芽始終關 注真實生活周遭可見可感的人事景物，將生命中的悲喜轉化為畫筆上的線條色彩。他既有的深 厚寫實功力、德國留學絢爛的藝術洗禮，加上周春芽對於中國古典藝術的喜愛與研究，使他的 作品呈現出眾多面向且富含韻味的獨特風格。 於畫布之外，周春芽一手創辦了「五彩基金會」，幫助災區殘疾少年們用藝術實現夢想並 持續推動藝術慈善教育。當眾人激賞周春芽是滿懷美術疆界的壯烈使命藝術家，他僅是低首繪 畫。唯有回歸家鄉、舒展真誠的個人生命經驗，付諸人類共通且無止境的文化關懷，才是他心 之所向。

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Foreword

Fresh Perspective Driven by Relentless Passion

Taiwan in the 1990s is a place in time when arts and culture were flourishing. Grace Art Gallery, an attendee at the 1993 gallery expo in Taichung, presented several of Zhou Chunya's works from 1992, which featured mountain rocks and human figures with lines flowing freely, colors intense and brushwork meticulous. Setting against a dark overtone, his semiabstract style, which exuded a sense of mystique, caught Xiao Zhongjing's attention, "Zhou Chunya is exceptionally skillful in realistic portrayals.

In these semi-abstract paintings, one can see exquisitely arranged texture."

Zhou frequented museums and galleries when he studied in Germany between 1986 and 1989. It was then he became acquainted with European art and experienced the influence of NeoExpressionism. He did, however, more than embracing these trends. He took one step further, infusing them with elements of the traditional literati paintings from China. In doing so, he developed a style that is distinctively his own.

Zhou once remarked during an interview, "I dedicated tremendous efforts in the portrayal of texture and the tactile surface, almost compulsively trying to define and savor the visual elements entrenched in the natural attributes of rocks." The inspiration for the majority of rock-themed paintings he created during this time came from Ya'an. Zhou captured the exotic landscape with dazzling colors and combine the portrayal of rocks with that of the human bodies, revealing daring, alluring human form amid the gloom. His paintings, while mysterious and calm, are nuanced with an unusual sense of energy. "My ideal expression is dynamic and sensitive, rather than static and homogenous." These are also the traits that magnetize Xiao.

Following the Rock Series, Zhou began the exuberant Green Dog Series, which features Heigan, his beloved German Shephard. Accidentally, he once painted Heigan green instead of black. Artist Zhang Xiaogang said to him, "This green dog is quite conceptual." Zhou also saw it as a refreshing surprise, a serendipity that proved to be more exhilarating while leaving room for imagination. "Green dog is a symbol, a signifier. Green is peaceful, romantic, lyrical, while also alluding to the calm before a storm."

In 2003 when Beizhuang Gallery represented Zhou, the gallery had a steady collection of Zhou's work, especially the Green Dog Series, which fully captures human emotions. "This is the first time I see a ‘dog' painted with such authenticity that it almost seems like a human being." On the canvas, the green dogs appear wild and elated at times, dazed and clumsy at times, lonely and sad at times. All are painted with a solid texture bursting with exuberant vitality. To Zhou, Heigan is family, and the emotions are evident in his brushstrokes. This vivid portrayal reminds Hsiao of a German Shepherd his family once own. The two bear many resemblances. Such memory adds emotional ties to what began as an instinctive fondness of the green dog.

Zhou once mentioned during an interview, "I wish the images I create can traverse freely across different cultural backgrounds and mediums." The Green Dog Series comprises both paintings and sculptures, shining a vivid light over the raw animalistic nature of dogs with a slight touch of humor. The bronze sculpture with baked enamel is also among Hsiao Chong-Ching's collection. The green dog,

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while presented through different mediums, has taken on a more profound and significant meaning for both the artist and collector.

Heigan passed away in 1999. Engulfed in grief, Zhou stopped painting green dog. For half a year, he barely painted at all, and decided to travel to Suzhou. Having depicted Ya'an rock, he was particularly keen towards the rocks in the Suzhou gardens, for instance, the Taihu Stone. Taihu stones have an intricate form that almost appears manipulated. To Zhou, they have a natural while artificial presence.

With each being unique, their existence is undoubtedly nature's most ingenious landscape sculpture, and the earliest, most ancient readymade art in China. It was this chance encounter that kindled his Taihu Lake Stone Series. In which, scrupulous attention is paid not only to the depiction of form and structure, but also to the presentation of color and texture. "I reversed the rhetorical devices to capture that elusive sense of heaviness and mystique, shaping a sense of mass through variations in brushwork and replacing the genuine presence of the object with a sense of illusion." Though Zhou's attention has shifted, his love of rocks reflects the contemplation over the Chinese literati traditions. Be it the organic rocks of Ya'an or the seemingly engineered Taihu Stone, he has captured their divergence and perplexity with refined strokes.

After Taihu Stone, another chance encounter gave way to a pleasant surprise – the Peach Blossom Series. In fact, Zhou started painting peach blossoms back in 1997, though not as the main subject.

In the spring of 2005, Zhou visited Longquanyi, where he was stunned by the sight of a mountain full of peach blossoms. He felt the primeval rhythm of nature; he felt the wildness and voluptuousness of peach blossoms. Since then, peach blossoms bloom gloriously on his canvas, volatile yet gentle, where violent rawness is mixed within tenderness. The polarizing forces keep the tension high in the Peach Blossom Series, continuing to grab collectors' attentions.

From human body and rock, green dog, Taihu Stone to peach blossom, Zhou continues to innovate and transform. It is as though his artistic soul also goes through the ebb and flow of the four seasons. Hsiao said, "Zhou Chunya appears young with a gentle and soothing presence." His friend, artist Qi Lan, also said, "Spending time with Chunya will make you younger." Qi describes Zhou as one who is free from emotional burdens, who can turn any unpleasantry into compassion and optimism instantaneously, and into the vibrance of spring. His paintings are colorful, his brushwork airy yet precise, full of rhythmic beat. Perhaps it was this very likeness between the artist and his paintings that resonates profoundly with Hsiao.

Since Hsiao began involving in the art auction business in 2007, he has amassed an extensive collection. Yet, as time progresses, regardless of how the market changes, Zhou's works always capture his attentions. Like meeting a kindred spirit, Hsiao's connection with Zhou is metaphysical. He reminisced reflectively, "When I saw Zhou's works for the first time at the gallery expo, I was drawn at first sight. He chartered an utterly new path in art. This affection began a long time ago, and never stopped."

As the chairman of an auction house, Hsiao Chong-Ching found a new horizon through Zhou's art, a horizon as splendid as the images Zhou creates, a horizon as lush as the eternal spring. Let us take a stroll through a collection nearly three decades in the making, and get ready to embrace the powerful resonance of art.

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導讀

既無分類，如何欣賞

周春芽是個不喜歡被歸類的藝術家，他曾在一次訪談中，明確拒絕所有外人 加諸在他身上的現有名詞：前衛藝術家、新表現主義……等等，他只說自己「不 一樣」。創作者向來最忌諱作品被冠上特定的印象，藝術家總是追求著創新與突 破，否則藝術家的精神不再，只能擠身於某某主義、風格的歷史隊伍之中，成為 其中一人，難以擺脫首創者的詮釋。將作品分類、加上關鍵字等等，是讓一般的 閱聽大眾得以理解藝術家作品的一種方法，但若以過於僵化的名詞解釋作品，又 等於填鴨式，大眾被灌輸似懂非懂的名詞後，容易以為自己已理解作品，而不再 對作品有更深入的觀察與欣賞，為了擺脫這樣的陷阱，可以從理解描繪同一主題 但不同領域的藝術家開始，多方理解不同的詮釋角度，同時找到屬於自己的審美 角度。 在周春芽「人體與石」系列中，對性徵的著重，會令人聯想到精神分析先 鋒之一的佛洛伊德，佛洛伊德對性慾與自我之間的思考與聯繫，開啟了人類對自 我了解的另一扇大門，他的論述有其獨特的想像力與美學。若以藝術家的角度思 考，佛洛伊德是用文字來創作，而周春芽用的是畫筆與顏料。描繪人物的畫家多

收藏家蕭仲景與藝術家周春芽

不勝數，但是大膽描繪「性」的畫家就不多了，在西方中，知名的如席勒（Egon

Collector Hsiao Chong-Ching and artist Zhou Chunya

Schiele）、克里姆特（Gustav Klimt）……等等，在他們所處的時代，都曾因大膽 地描繪女體或較赤裸的性而遭受非議，但他們仍獨排眾議，堅持自己內心的渴望。 席勒、克里姆特與周春芽筆下的女體，雖然都大膽的敞開，毫不避諱地展示出性 特徵，但還是可以看出三人描繪的方式有極大的不同，尤其是周春芽大多沒有將 面部表情畫出，其中的隱晦之美，以及去除面部後顯得中性的女體，展現出截然 不同的風格。理解不同畫家對相同主題背後描繪的衝動、選擇畫出或者不畫出什 麼，都能窺見創作者背後的精神世界，即使沒有將其畫作分類，沒有太多關鍵字 與術語的輔助，在類似主題的多方欣賞與比較下，就能更加理解並貼近創作者。 每個人都是一個獨立的個體，生長環境、生命中所經歷的一切，都會影響個 人，從而形塑出不同的精神世界與審美觀，人與人已是如此不同，人在每個當下， 因立場不同所選擇的觀看方式也會不同。在「周春芽珍藏展」當中，閱聽大眾所 能看見的周春芽，是身為拍賣方的蕭先生所藏，與單純的藏家不同，在於蕭先生 除了要有自己對藝術鑑賞的獨到眼光外，同時也須設想各種不同藏家可能會欣賞 畫作的角度，將視野放廣，才能讓不同需求的藏家，都能認識並收藏到他們各所 喜愛的周春芽。蕭先生扮演的角色，更像是引渡人，一開始收藏周春芽的起點， 是私密的、個人的喜好和觸動，接下來，他則需要客觀設想來自各方的藏家之心， 並挖掘出更多周春芽的面向，將之引介給對的人。在分類與不分類間，蕭先生變 換著自己的眼光，理解多方面向，如此，才能使畫的美在對的人面前，發揮極致。

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01 溫柔與暴烈 :「人體與石」系列 山石為傳統中國畫中永恆的自然母題，內含的力量以及獨一無二的 肌理紋路，令畫家能夠充分表現自己的精神。周春芽將中國傳統技 法和德國絢爛前衛的色彩融合在一起，創造出一系列「石」與「人」 的結合，讓兩者互為表裡，既野性又富含生命力。這是另類的天人 合一。偏向暗晦色調的使用，使這系列的作品有著幽微迷離的視覺 效果，石與人皆可溫柔，卻又潛伏著暴烈，在周春芽的世界裡，藝 術是一種發現，如同探險者，善於走偏僻的地方，將未曾被命名的 美挖掘出，重現於世人眼前。

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Tenderness and Violence: Human Body and Rock

Mountain rocks, a perpetual motif in the traditional Chinese paintings, are symbolic of nature. Their self-manifested power and integrity as well as their unique texture give artists the means to express their spiritual aspirations.

Zhou Chunya fuses traditional Chinese painting techniques with the potent and vibrant colors of German Neo-Expressionism. Enhanced with his own profound aesthetic understanding, Zhou created a series of paintings that are the union of "rock" and "human". While the former is enlivened with a human soul, the latter acquired the free spirit of nature.

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This is an alternative union between heaven and human. The use of dark overtone casts an intriguing visuality over this series. There is tenderness within the rock and the human, yet a sense of ruthlessness lurks beneath. Zhou once wrote, "Some say art is a representation; some say art is a presentation. I think art is first and foremost a discovery, while the artist is an explorer skilled at discovering the beauty of nature and human on the less beaten path."

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「馬穿山徑菊初黃，信馬悠悠野興長。 萬壑有聲含晚籟，數峯無語立斜陽。 棠梨葉落胭脂色，蕎麥花開白雪香。 何事吟餘忽惆悵，村橋原樹似吾鄉。」

--- 宋朝詩人王禹偁 在德國卡賽爾學院留學期間，周春芽開始受歐洲繪畫理論之洗禮，對印象主義、立體主義

多有研究，特別是「新表現主義」那種對粗野、原始之美的探索執迷，在之後影響他甚深。這 樣的基礎上，結合過往藏族系列的寫實質樸，大幅轉變樣式與色彩。 《駿馬》繪於 1990 年代，周春芽借鑒新表現主義濃烈的色調，承接文人繪畫題材， 平穩 的構圖中，線條細膩卻帶有原始奔放的野性，純粹黃色調大筆刷洗背景與褐色鬃毛交織出神秘 氣氛， 相對於畫中主角，背景的處理手法是粗獷奔放的，而野性的馬卻筆調柔和細膩，這一反 差，讓整幅畫更加深沈，動靜之間，加之筆觸的矛盾，反而帶出更多值得玩味的底蘊。 While studying in University Gesamthochschule Kassel in Germany, Zhou Chunya engrossed himself in European art, absorbing theories of Expressionism, Cubism, and he was especially fascinated by the raw and primitive beauty of Neo-Expressionism. As though it had given him a strong pair of wings unlike anything that came before, he was ready to fly into the infinite future. Taking the place of the Realism influence found in his humble Tibetanthemed paintings are simplistic subjects he instinctively practiced with the crude and calming earth tone.

Horse was completed in the 1990s. Zhou cleverly fused the daring and intense colors from Neo-Expressionism with subjects from the traditional literati paintings. A keen sense of color is liberated through the racing lines. The brushwork, like sketching, roams like the wild cursive script. All superfluous details are eliminated from the background. Amid the broad strokes of dark yellow, vaguely visible daubs of white in thickly textured strokes signal the majestic sky in the give and take distance. As though the sun is about to set, swirling sand dance wildly, connecting the boundless desert and vast sky. A primordial sense of untamed wildness expands until it bursts. Zhou's brushstrokes run freely, nimble at times, hasty at times, forging the bare soul of a horse galloping with its mane flying. Such passion stirred in Zhou's heart. The layers of colors are slices of life, yelling out Zhou's confusion and lack at that particular moment while foretelling the blossoming of his spectacular career, and all this, is just the beginning.

026

周春芽《駿馬》 Zhou Chunya, Horse

1990

100 x 80 cm

油彩 畫布

1990 100 x 80 cm Oil on Canvas

027

「所謂大師，就是這樣的人：他們用自己的眼睛去看別人見過的東西， 在別人司空見慣的東西上能夠發現出來美來。」

--- 羅丹

周春芽在創作石頭系列的時候，正好也潛心研究文人山水，然而周春芽並沒有如國畫家那般專注於材質屬 性和圖式形態，而是以強大的寫實功力表現出石頭的肌理與質地，捕捉和玩味那些潛藏在石頭自然屬性中的視 覺因素，同時結合人體的描繪，將其中重要的質地突顯出來，這讓周春芽筆下的石頭充滿驚喜與震撼。 《與石頭連在一起的人體》創作於 1992 年，此時期的周春芽潛心於「人形」等有機體所蘊含的生命感， 繪圖中多有人體於色彩、質感當中略為變異的造像，其充滿力度的用筆，更作為之後「山石系列」成功的基礎。 周春芽在石頭的結構紋理中發現人體的意象，故將中國山石與人體肌肉化為一體，帶來奇異且驚喜的視覺感 受。此件作品黑褐基調與純色背景營造出凝肅虛無的空間感，夾雜的紅色調將人體與石之間的界線模糊，石頭 斑駁的蘚色與若隱若現的人體相互交融，使畫面呈現出破碎後又融合的特殊姿態，既像是雕塑，又像靜物畫， 動靜間、平面和立體間，不同的元素不斷交會著，耐人尋味。 When working on the Rock Series, he was also studying the literati landscape. However, instead of following the traditional disciplines and focusing on form and material attributes, he applied his own aesthetic experience and expression in search of something unfamiliar and surprising. Zhou demonstrated his skills in realistic portrayals through the depiction of the rocky texture. Almost compulsively, he captures the visual elements ingrained within their natural attributes and relishes them. With a keen instinct of an artist, he accentuates the prominent textural characteristics, presenting the rocks under stunning light.

Rock and Nude was completed in 1992, a time when Zhou was enamored with the abundant vitality of organic forms such as the human body. He created images of human forms with mutated colors and textures. Loaded with velocity and force, his brushwork lay the groundwork for the Rock Series that was to come. He delineates the human figure through structural texture of the rocks, merging Chinese mountain rocks with human muscles, which delivers bizarre visual wonders. The dark brown overcast and monochromatic background construct a sense of solemn spatiality filled with emptiness. Sporadic red brings the image to life. The bleak rock and vaguely visible torso amalgamate without hesitation. The boundary blurs. Rugged texture and twisted torso, which seems to be put together with broken pieces, reveal influence of Neo-Expressionism. Mottled moss green covers the bare skin, which would have assumed the color white. The floating subject poses a contemplative stance, restrained and exquisite, making the otherwise weighty rock ethereal.

028

周春芽《與石頭連在一起的人體》

1992

150 x 120 cm

油彩 畫布

Zhou Chunya, Rock and Nude 1992 150 x 120 cm Oil on Canvas

029

周春芽 1990 年後的作品，充分散逸新表現主義的實驗氣息，用嶄新的「抽象表達」 解放畫家的筆觸，時而色塊陰鬱，散發幽微神秘感。《女人體》以繁複多變的筆劃線條和 媒材質感，不同於人體與石相結合的系列筆法，暗黑沉重的線條絲絲縷縷，既像女人延伸 出的髮絲，又像從身上拉扯開來的肌肉紋理，禁錮住扭曲的人體，其模糊的輪廓及失焦的 五官使人不得不全然聚焦於女體的姿態，既扭曲、卻又帶著一種撩撥，令人難以抉擇是該 同情、防衛，又或帶著慾望？或者這就是周春芽筆下的女人本色，曖昧又真實。在這複雜 心情的轉移間，女人的姿態早已深印在腦海之中。 Zhou Chunya's post-1990 style demonstrates the experimental spirit of NeoExpressionism. This new "abstract expression" liberated his brushwork, creating colors so gloomy and intense they send the viewers shivering, images so sacred and pristine they put spectators in a pensive state. In Female Nude, the subtle elegance found in inkdepicted mountain rocks from the Chinese tradition is replaced by the undulating texture from pigments layered in minimal colors. Like a dungeon, the coarse black lines trap the contorted torso within. A sense of fear and daze is vaguely detected from the obscure silhouette and facial details. Muddled blue and black create a visuality where intensity and indifference coexist. The dry, streaky strokes found in Chinese calligraphy create a steady rhythm amid the untamed strokes, ultimately striking a visual balance between the tender and the ruthless.

030

周春芽《女人體》

1992

100 x 80 cm

油彩 畫布

Zhou Chunya, Female Nude 1992 100 x 80 cm Oil on Canvas

031

「畫中要有靜氣。骨法顯露則不靜 ， 筆意躁動則不靜。要脫盡縱橫習氣 ，要有一種融合之氣浮動丘壑之間。」

--- 齊白石 1989 年周春芽回國後，開始潛心研究文人畫，「元四家」、八大、董其昌、黃賓虹等人為

代表的中國傳統繪畫與美學思想引導他尋求新的藝術轉換。周春芽追求「筆墨」與「線條」的 流動性，而這兩項要素是中國水墨畫亙古不變的永恆探討，千百年來傳統繪畫的發展也是筆墨 與線條的演變史。 《人體的組合 93 年 3 號》創作於 1993 年，書法般的寫意線條縱橫，以流動的走筆來展 示力量與溫柔，隱約可見幾個人體結合其中，使本應存在的界限模糊混沌，若有似無，徘徊在 抽象與具體之間，畫面中的人體彷佛婆娑起舞，時而似是悠然獨舞，時而則浪漫地共舞，美麗 地宛如墨墜入淨水中暈散，旋即凝結成永恆。 When he returned to China in 1989, Zhou Chunya dived right in, seeking the path to a new artistic style from the Four Masters of Yuan Dynasty, Bada Shanren, Dong Qichang and Huang Binhong, who represent the orthodox in Chinese paintings and aesthetics. What Zhou was searching for was the lyrical flow of brushstrokes and lines, two perpetual constants in the exploration of Chinese painting, and the evolvement of which also represents the millennial evolution of the two elements.

Combination of Nudes 1993 No.3 was completed in 1993. The calligraphic lines traverse through the canvas in a freehand style, flowing lyrically with momentum and tenderness.

Vaguely, one can detect a few silhouettes, blurring the distinction between what is and isn't, between the form and formless, between the abstract and figurative, as though a dance is being performed, at times a solo, at times a duet. Like a romantic choreography performed by the figures, so beautifully done it renders like droplets of ink unraveling in water, frozen in an eternal moment.

036

周春芽《人體的組合 93 年 3 號》

Zhou Chunya, Combination of Nudes 1993 No.3

1993

100 x 160 cm ( 二連幅 )

油彩 畫布

1993 100 x 160 cm (Diptych) Oil on Canvas

037

周春芽深受新表現主義的影響，畫作中可以見到一股粗狂與原始主義的美學風格， 然而他仍珍愛自身的東方文化，他熱愛傳統，但拒絕跟從。1990 年代，他集中創作了 一系列「山石」、「太湖石」及「蘊藏人體的山石」作品，《頭像》於 1993 年誕生， 油彩在畫布上凹凸、重迭、起伏的肌理，在一片黑暗中，既明亮又若隱若現的五官，其 上交織著細碎繁雜的線條，構成了主體的粗糙質感，再以鐵刺網或電流般的形態環繞於 周遭，更凸顯了頭像的存在感，在這存在與受縛之間，難以忽視的明亮眼神，更加映出 整體焦躁不安的氛圍。 When Zhou Chunya returned to China, he delved into the literati paintings, seeking the path to a new artistic style from the orthodox Chinese paintings and aesthetics. The study gave way to a prolific decade in the 1990s, during which he created series of works such as Mountain Rock, Taihu Lake Stone and Rock and Nude.

Head was created in 1993 with close ties to the Rock Series. Again, the gradation of ink on paper between the light and dark; dry and moist; soft and rigid assumed the appearance the undulating and textural applications of oil on canvas. Amid the fuzzy facial expressions are a pair of vaguely visible eyes gazing ahead. Clusters of shattered lines, which encircle the subject like electric currents, constitute the craggy surface texture. The darkness in the background accentuates the nebulous quality of the head, bringing the sense of restlessness and agitation to the forefront.

038

周春芽《頭像》

Zhou Chunya, Head

1993

74 x 60 cm

油彩 畫布

1993 74 x 60 cm Oil on Canvas

039

周春芽早期的畫作顯得色彩純度高，展現純粹情感，而後在草原與山的主題中多了 冷色和對比色，綠狗與桃花則呈現燦爛明媚。周春芽的畫作中，褐色是經常見到的色彩， 他甚至以「褐」字為女兒命名。1994 年創作的這幅《褐色的半身人體》便是以偏愛的 褐色調作畫，予人一種渾厚神秘的感受，暖色之中卻又散發冷靜，沉穩卻不僵冷，團塊 的人體形成煙氣的質地，以東方水墨般的寫意的筆觸，展現出西方古典裸女半身像，融 併山石的堅實與人體的柔軟。雖然裸女並沒有臉孔，卻能表現來自人體深處的原始生命 力。 Zhou Chunya’s early painting portrays extraordinary color purity to express profound emotions. In his later landscape subjects, he begins using more cool and contrasting colors, and by Green Dog and Peach Blossom series, Zhou have mastered the brightly saturated color scheme. Despite the different stages of his artistic career, the color brown is a reoccurring shade in his works, thus he named his daughter after the color in Chinese. Created in the proximity of the Rock Series, Brown Torso was completed in 1994. The female nude, typically depicted in Western classical style, is presented here with Chinese ink in free flowing strokes that melt the supple human flesh within the rigid rocks. The skin color and the rocky earth tone share the unruly strokes steered by primitive desires. The two bonded as one, symbolizing the liberation of the unbounded savageness in life.

040

周春芽《褐色的半身人體》

1994

74 x 60 cm

油彩 畫布

Zhou Chunya, Brown Torso 1994 74 x 60 cm Oil on Canvas

041

「春芽早期在德國學習，學的是表現主義的東西，不過他骨子裡是中國傳統 的審美趣味。現在的一線藝術家裡，和周春芽相似的還有劉煒，都是走「繪 畫性」為主的路子，周春芽的油畫不能簡單的稱為「繪畫」，而是有很多「寫」 的味道在裡面。我說的「寫」不是「寫意」。從派別的劃分上說，西方表現 主義是有存在主義作為依託的，屬 於後現代的範疇，是一個複雜的概念。而 周春芽的作品也不簡單的是表現主義的手法，更多的是個人情感的泛化。這 個情感也僅僅是個人情感的宣洩，其中有狂放，也有壓抑。」

--- 中國新攝影運動代表藝術家洪磊 相較於 1992 年的《女人體》，《女人體 ( 二 )》用筆更加大膽奔放渾厚，勾勒

女人形體，顏料堆疊出起伏的豐富肌理，與暗鬱色彩結合。沉重有力量的線條繪出 扭曲的胴體，模糊的輪廓與五官展現出壓抑情感，陰冷中又帶著一種暴力的可能。 構圖似是人體，然而灰色調的片狀色塊又呈現陌生化的石膏質地，既濃郁又淡漠。 局部用筆采以毛筆的飛白效果，在自由奔放的筆法中不失穩定的韻律，達成溫和與 暴力並存的視覺感受，可以看見畫作中流淌的新表現主義風格。 Zhou Chunya's style became distinctively experimental with German expressionistic influence. Liberated by this new "abstract expression", he painted colors so gloomy and intense they make viewers shiver; images so sacred and pristine they evoke deep contemplation. He invented techniques that give his sketches complex structures, presenting volume and power unlike anything that came before while revealing the loneliness and oppressed emotions of his life as an expat. Zhou said, "Hidden behind the wild strokes is a figurative image. While the form is being constructed, deconstruction is also underway." The human torso is combined with blocks of fuzziness. A tug of war between the figurative and the abstract is quietly taking place. With meticulous layers of textural arrangement wrapped within expressionistic techniques, he amplified the distillation of form and the diabolic force.

Compared to Female Nude created in 1992, Female Nude II is encrusted in complex arrangement of lines and textures. The nuanced elegance of the Chinese mountain rocks and traditional painting techniques have been substituted.

Taking their place is a female torso depicted in bold and unrestrained form.

Layers of pigments mount the canvas, leaving undulating textures with sporadic shadows. Caged within the dungeon of coarse black lines is the twisted torso.

Amid the fuzzy facial expressions are a pair of vaguely visible eyes gazing ahead, seemingly hinting at a human form yet overpowered by the plaster-like appearance of patches of grey. The murkiness of blue and black creates an intense yet detached visuality. Amid the untrammeled brushstrokes, a steady rhythm is set with dry brush applications, striking the ultimate balance between gentleness and ruthlessness.

042

周春芽《女人體（二）》 1994 72.5 x 60.5 cm 油彩 畫布

Zhou Chunya, Female Nude II 1994 72.5 x 60.5 cm Oil on Canvas

043

「燈光終於心滿意足地漸漸消失，只有壁爐裡的餘火依然照耀著，閃閃的殘焰發 出輕輕的歎息，把她金黃的肌膚映照得如血般的鮮豔。」

--- 法國詩人、象徵派詩歌之先驅波特萊爾 此幅《裸女》創作於 1995 年，刻意抹除模特的頭部，專注在裸體動與靜之間的瞬

間體會。人體裸像的描繪題材雖是普遍，但周春芽在皮膚質感及用色變幻上，賦予強烈 的特殊性。上身苔綠，下身褐紅，雖是描繪人體，卻又運用了自然界的紋路，大部分的 構成是斑斕多彩的石色，最底腳部及膝蓋周圍的腥紅是噴濺出的，為整體的靜態注入了 一股血腥而暴力的動態，在這樣安靜的軀體下，究竟藏著何種故事？明顯勾人的一道謎 題，更促成了這幅畫的奇特絢麗之處，而「意」便在這之中自在遊走，任眾人解讀。 Female Nude was completed in 1995. The women's head is intentionally left out, leaving the focus on a split second oscillation between the still and the dynamic. Nude is a common theme for paintings. However, Zhou's has applied unique use of color variations and portrayal of the skin texture in Female Nude. The skin on her upper torso appears pale and delicate, like a mountain peak thinly layered by pristine snow.

The torso occupies the majority of the colorful rocks, blurring the line between rigidity and suppleness. Audacious red seeps through the bottom of her left foot and around her knee, leaving stirring visuality. This painting is bizarre yet splendid, like Zhou, who has always been in a class of his own.

044

周春芽《裸女》 1995 100 x 80 cm 油彩 畫布

Zhou Chunya, Female Nude 1995 100 x 80 cm Oil on Canvas

045

周春芽的作品中不少著濃厚的自傳性色彩，在他真摯的繪筆之下，線條與色塊都猶 如訴說著故事，在流逝的時光保留剎那即永恆的情感。此幅創作於 1996 年的《裸女背 影》，同樣以周春芽喜愛的褐色調所繪，畫面中帶著渾然之氣，褪去人體寫實精準的肌 理，轉而在線條的曲直、顏料的濃淡之間，呈現水墨運筆的蹤跡。大片留白的背景之中， 透著中國傳統山水的空間營造與神秘，繪筆追求書法式的筆墨運轉 ; 畫面呈現出老照片 的質地，裸女的背影也予人無限想像，讓觀者不禁猜想人物內心流轉著什麼故事，濃淡 不一的背影，也增加了畫作的動態和景深，既寫實又寫意。 Nude from the Back was completed in 1996 during Zhou Chunya's exploratory stage. The painting appears to be done in one take, flowing freely without interruption.

He no longer depicts anatomical texture realistically. In the arrangement of lines and colors, his use of the ink painting techniques can be detected. Against a background left largely unpainted are traditional ink elements, with which Zhou maneuvered like calligraphic strokes on paper. The image, however, is not one of classical discipline and elegance, but one of crass and violence. The female nude alludes to the desire to be rid of societal constraints and expectations forced upon her, which fully exposes the nakedness of human nature. Yet, riddling underneath the seeming stillness are currents of suppression, panic and complexity.

046

周春芽《裸女背影》 1996 72.5 x 60.5 cm 油彩 畫布

Zhou Chunya, Nude from the Back 1996 72.5 x 60.5 cm Oil on Canvas

047

02 心中丘壑：「山石」系列 周春芽的山石系列，將宋元古典山水的意象與西方繪畫框式的取景 奇妙的組合起來，具有了一種跨越人文地理與歷史文化的超然氣息， 絢爛而撲朔迷離的色彩運用，更引人不覺深陷其中，如真似幻。這 是周春芽繪畫藝術在形態提煉和文化命題兩方面的第一個標程。 花非花，石非石，在周春芽眼中，「石」的意義早已超越單純的景 致描繪，而是注入全副心神，展現更恢弘篷勃的氣勢與東西結合的 深刻內涵。

048

Mindscape: the Rock Series

Zhou Chunya's Rock Series cleverly combines the images from classical landscape paintings of the Song and Yuan Dynasties with the Western style of framing the scene. The result transcends cultural geography, history and culture, placing the viewers back in the fantasylike heaven and earth of the primordial universe, as they fall even deeper into the labyrinth of splendid yet elusive colors.

A flower, it may seem; a rock, it may be. To Zhou, the "rock" represents more than the mere description of a landscape element. Rather, it represents the heart and soul he pours into the display of an increasingly magnificent force that is the profound union of the East and West.

2 049

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「在周春芽的畫作中，山石的空洞是由淡黑色的效果體現出的，畫面的背景則毫無疑 問的支撐了整 幅畫面 : 扭曲的綠色形體浮在白色的畫布之上，沒有任何支撐的基礎。周春芽畫的綠色山石變成了一 種隱喻，它從傳統中發展出來，並由一種不尋常的媒介 ( 油彩 ) 在畫布上表現出來。這呈現出了畫家 人格的兩個方面 : 他在過去和現在，中國和西方，蒼白和濃重的陰影效美之間徘徊不定。達芬奇畫中 的雲和點塊都有著朦朧的輪廓，這讓畫家能夠充分表現自己的想像。同樣的，周春芽描畫的山石給他 自由發揮繪畫活力的機會，讓他運用飽滿的筆觸，深入利用現有的圖像技法傳統，又不會感到受到限 制。」 --- 義大利策展人、藝術家 Monica Dematte

周春芽通過對傳統國畫的山水、石頭和花卉的抒情表達，發展出一種介於水墨大寫意、新表現和抽象主義 之間的油畫，是西方表現主義和傳統國畫多元對應的和諧，既是中西文化不同空間的對比與交融，又是傳統與 當代藝術時間跨度的對話。當時一首中國古曲「塞上曲」令遠在德國的周春芽動容，回望中國文化，進而發展 出繪畫 生涯的重要轉捩點，決心走出一條出人意料的全新之路。他履次前往四川盆地周圍的山區細察石頭形 態，在此期間，超越傳統框架的「山石」系列於此迸生。 《巴朗山之旅》繪於 1992 年，以風貌鮮明的巴朗山為靈感，擴寫文人山水畫的命 題，賦予山石幽然遠 闊的新生命，發展出一種奇異的山水，作品背景為黃褐色平面， 然而在主體上使用潑染、滴彩、皴皺、肌理 等多種手段豐富了造形層次及意義，形成奇妙的張弛效果，周春芽所創造的「心中丘壑」深不可測、耐人尋味。 By painting traditional elements such as the landscape, rocks and flowers, Zhou Chunya created a type of oil painting that sways between the freehand ink paintings and the neo-expressionistic abstractionism.

It is the harmonization of Western Expressionism and Chinese painting traditions; the spatial contrast and synchronization between the East and West; the temporal dialogue and reacquainting of the traditional and the contemporary.

Trip to Balang Mountain was completed in 1992. Inspired by the seasonal beauty of Balang Mountain, Zhou expanded upon the literati landscape, breathing new life and a profound air into the mountain rocks. Up close, the rock texture appears rugged, setting off the translucent peak that is as white as snow.

Vaguely, a silhouette appears amongst the mountain rocks. Multiple elements traverse, transforming a freehand landscape into an intriguing story, waiting to unfold.

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周春芽《巴朗山之旅》 1992 100 x 80 cm 油彩 畫布

Zhou Chunya, Trip to Balang Mountain 1992 100 x 80 cm Oil on Canvas

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「荒途趣山楹，雲崖隱靈室。 岡澗紛縈抱，林障沓重密。 昏昏磴路深，活活梁水疾。 幽隅秉晝燭，地牖窺朝日。 怪石似龍章，瑕璧麗錦質。 洞庭安可窮，漏井終不溢。 沈空絕景聲，崩危坐驚慄。 神化豈有方，妙象竟無述。 至哉煉玉人，處此長自畢。」

--- 南朝宋文學家、駢文家、詩人鮑照 《石頭》創作於 1993 年，周春芽筆下的石頭結構沉穩典雅，富含情緒張力，於石塊表面上形塑出騷動、曖

昧的視覺效果 ; 細看宛若宇宙初始的渾沌狀態，神秘中卻仍帶有秩序與規律，於畫布上迸發出一股特殊的美感及 氣韻。 周春芽筆下的石頭雖有古典文人的型態，卻不是那種過於溫和、內向的風格，畫中流轉著一股張揚的冒險精 神，甚至瀰漫一種暴力甚至是色情的意味。他在傳統造型的中國山石中，加入濃豔的紅色，並發揮了油畫的材質 特性，以豐富的細節和肌理置換了傳統筆墨柔淡纖弱的質地，以繁複錯落的體積結構改變了文人繪畫扁平的視覺 特性，從色彩到構圖均帶有如鬼魅奔放之感。 "I approached the rocks purely out of personal interest, without regard to iconography or symbolism. I liked how rocks look in classical literati paintings but was not satisfied with their excessive quietude and inwardness.

I came up with a bombastic and risk-taking approach – to use these elegant classical images to convey violent or even sexual feelings. Humans have put up artificial barriers between these two aesthetic styles. This modular perspective led to a monotonous sense of aesthetics, a conventional rejection, especially among traditional Chinese painters. I am breaking down this artificial barrier, so I smear passionate red on the traditional Chinese mountain rocks, using the material property of oil paint to replace the delicate ink with rich details and textures.

The complex structural mass changes the two-dimensionality of traditional literati paintings, giving them ethereal liberation from colors to composition."

--- Zhou Chunya

Rock was completed in 1993 during Zhou's early exploratory stage. With solid techniques, he turned the long contemplated concepts into reality with precision. The result is a subdued yet fervent beauty. The portrayal is beyond the basics. His rocks are calm and graceful while bursting with emotional tension. The colorful layers created with his brush maneuvers construct a three-dimensional realm upon the rock surface with restlessness and ambiguity. Up close, the image appears to be the murky beginning of the universe, unfathomable yet pulsating with order and rhythm. Zhou positions himself in history and culture with dignified literati spirit and his artistic talent, and has created a nuanced sense of aesthetics distinct of his time.

The Rock Series signals a continuation of the heritage of Chinese cultural representation and the unveiling of Zhou Chunya's own artistic expression. He studied ancient landscape paintings profusely. During the process, he gained the understanding of the primordial force that converged within and conveyed through the rocks from nature. Zhou experimented with the unpredictability of their patterns and texture, expanding his ink expressions beyond representing natural landscape to encompass his own temperament and aspiration.

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周春芽《石頭》 1993 72.5 x 61 cm 油彩 畫布

Zhou Chunya, Rock 1993 72.5 x 61 cm Oil on Canvas

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在眾多欲將油畫中國化的中國藝術家內，周春芽是深具代表性的嘗試者。在「山石」 系列中，以突破文人山水常規的方式重新詮釋其質感、體積、紋脈肌理和形狀，讓反自 然色彩、反理性表達、反邏輯配置充溢畫面，形成了繁雜錯落的結構，傳統中扁平的視 覺特性產生變化。 此幅《山石系列》呈現出周春芽顛覆正統視覺的野心，班駁陸離的顏料結成塊塊硬 殼，在畫布呈現凹凸起伏的奇幻地形。異彩造就了迷離之境，雄厚質地則增添寫實之感， 虛實相生於。藝術家放肆奔走的狂筆中，煥發出有強烈的個人意識，以慣常的正統視覺 來看，周春芽的作品形態和色彩無疑是離經叛道的，解構、消解乃至破壞的意義大於建 設意義，流露出周春芽身為藝術家不斷顛覆傳統的叛逆與傲氣。 Zhou Chunya is a symbolic figure among Chinese artists who made attempts to treat oil paint a medium in Chinese painting. He used unique artistic vocabulary to cleverly combine the images from classical landscape paintings of the Song and Yuan Dynasties with the Western style of framing the scene, placing the viewers back in the fantasy-like heaven and earth of the primordial universe. In the Rock Series, Zhou reinterprets the texture, volume and form using unconventional approaches, filling the painting with anti-naturalistic colors, irrational and illogical juxtaposition. Meanwhile, the structural composition creates visual variations that stir up the two-dimensionality found in literati paintings.

The Rock Series gives a glimpse of Zhou's ambition to overturn the orthodox.

Dried pigments, appearing like hardened shells, form exotic terrains undulating across the canvas. While the striking colors spread a mystifying air, the dense texture brings the painting back to reality. An exchange of energy between the positive and the negative takes place amid Zhou's wild strokes.

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周春芽《山石系列》 1995 100 x 80 cm 油彩 畫布

Zhou Chunya, Rock Series 1995 100 x 80 cm Oil on Canvas

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「山川草木，造化自然，此實境也。因心造境，以手運心，此虛境也。虛而為實， 是 在筆墨有無間，……故古人筆墨具此山蒼樹秀，水活石潤，於天地之外，別構 一種靈奇。或率意揮灑，亦皆鍊金成液，棄滓存精，曲盡蹈虛揖影之妙。」

--- 清朝畫家方士庶 《中國山水》創作於 1998 年，周春芽細膩捕捉潛藏在石頭中自然屬性的視覺因素，

色料淡處也仿若水痕，靈巧地詮釋出天水一色的蒼茫韻味。周春芽尋求創作與大自然更 加親密的心念，不斷的新嘗試，直到那些抽象圖式與其理想的精神完美交融。在《中國 山水》這件作品中，周春芽與傳統山水符號的柔淡纖弱的告別，將西方的濃厚油彩揮灑 出東方水墨神髓，精彩地演繹「墨分五色」的濃淡變化、暈染效果。周春芽發展出的油 畫系統，相容了中國的水墨傳統、德國新表現主義，以及前衛而現代的抽象主義，融合 出專屬周春芽一人的風格。 Chinese Landscape, which was completed in 1998, marks Zhou Chunya's official departure from the delicate elegance of traditional landscape paintings. He gave oil paint the soul of water ink, letting it flow freely without a moment of hesitation into various gradations of shades.

Chinese Landscape captures more than the visual aspects of the natural attributes of rocks. The lighter areas, like remnants of water marks, are cleverly choreographed to show the vastness of sky and water blending as one. From Chinese Landscape, one can detect Zhou's determination to form a closer bond to nature through art. He has to hold faith that the goal he had been working towards is an eternal subject, and continue to shed sweat and tears into this experiment until he reaches the perfect union between the abstract images and his ideal spiritual world. Zhou's oil paintings embody the traditions of Chinese water ink, German Neo-Expressionism as well as the Avant-Garde and modern abstractionism. He is in a class of his own, touching the audience in his own way.

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周春芽《中國山水》 1998 100 x 80 cm 油彩 畫布

Zhou Chunya, Chinese Landscape 1998 100 x 80 cm Oil on Canvas

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「片石蒼山色，復如山勢奇。」

--- 明朝詩人潘緯 1999 年，愛犬「黑根」因病去逝，使周春芽十分悲痛，因而展開一段行旅，赴蘇州參觀

各園林，此期間他的心靈受到震撼，遂以更加濃厚的油彩，重新詮釋中國山水的精神，創發出 深具歷史感，又融和渾厚、恐怖、優美於一身的「太湖石」系列作品。此幅《山石圖》正成於 此時期，見證了周春芽風格的轉變。 在《山石圖》中，周春芽捨棄了客觀的描摹角度，多以心中主觀意象帶領，重現他心中的「山 石」，他以戲劇化的明暗差異以增強空間與物件的厚度，傳達深遠澎湃的力量，亦傳達出他性 格中強悍滂礡的一面。渾厚的黑色在虛實濃淡間恣意纏結、覆蓋，並且暈染、散漫，擁有了水 墨媒材的潤澤感，卻不若一般水墨的飄渺柔弱。周春芽的油彩墨料恣意遊走，造就宛如草書般 的筆走龍蛇，不僅刻畫出空間的縱深感，也傳達出時間的流轉變遷。此間有千山萬壑、流水奔 騰，萬物化為一體，既深具實體感，又是若有似無的虛境。 Heigan, Zhou Chunya's beloved pet, passed away in 1999. Stricken with grief, he visited the gardens of Suzhou, channeling his energy into reinterpreting the magnificence of Chinese landscape. It was during this time that he created a series of paintings with Taihu Stone as the subject. The series is a concoction of history, depth, complexity, terror and elegance.

Mountain Rock was created at this time, bearing witness to the pivotal transition in Zhou's artistic style.

In Mountain Rock, intense black entangles and encases between the light and the dark, the void and the solid. The rendering effect gives oil paint the appearance of moist ink.

However, the densely amorphous details and textures have taken the place of the delicate nuance of traditional ink expressions. Taking the place of the two-dimensionality in literati paintings is a complex structural composition, which propelled this piece to another level.

Zhou unleashed his brushstrokes like the wild cursive script, capturing not merely the spatial depth, but also the flow of time. Myriads of mountains and valleys converge as rapids run within, where all beings are as one, so physical yet ethereal, where reverence and disarray intertwine. With an authentic heart, Zhou has captured the profound magnificence and spirituality of the mountains and waters.

While the inner world can be influenced by the outer, it is also the birth place of inspirations. Zhou's rapid strokes took a passionately abstract turn on the most classically elegant genre in Chinese paintings. Mountain Rock is a snapshot of the majestic mountains amid raging clouds. Exotic and unrestrained eruptions echo Zhou's grand vision. He let go of objectivity. Instead of portraying the natural attributes, he painted the composition and colors from his mindscape, unleashing the paint with the velocity of water ink. He then added dramatic contrast between the light and shadow to enhance profundity, sending powerful resonance to a far reaching realm.

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周春芽《山石圖》 1999 100 x 80 cm 油彩 畫布

Zhou Chunya, Mountain Rock 1999 100 x 80 cm Oil on Canvas

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「周春芽有意地挑選了中國山水圖式裡最常使用的「山石」意象，直接從傳統文 化精神與繪畫圖式中切出，這小小的，卻是前所未有的「越界」一步，遂造成了 廣泛的影響與討論一原本具象或寫意，墨色或青綠的山石，原來也可以畫得如此 抽象而激情，血色而賁張。在這一系列的作品中，周春芽藉著表現主義的筆觸堆 棧出肌理質感，運用水墨書寫性的流動與速度展現力度，同時將兩種方式在畫面 上交互使用著，再以戲劇化的明暗來增強空間與物件的量感，以及動態的暗示。 將此視為一山石繪畫典型的開發亦不為過。接續「假山石」的華彩，在千禧年前 後，周春芽從園林造景中更具有戲劇感與瑰異詭譎之生命意象的「太湖石」身上， 再度發揮新詮了一次，除了更為酣暢快意、恣情淋灘、渾厚豐富的巨大石塊占據 大部分畫面，成為中央視點唯一主體的構圖之外，原本矯揉的太湖石卻被他畫得 既神秘優雅又兼有奔放的野趣，更奇特的是他在石頭上添加了一些不明流淌的血 色汁液，像是受創的傷口，卻更具有暴力或是原始情欲溢出漫流的強烈暗示性與 象徵性，讓原本與傳統連結緊密的、嚴重象徵著文人雅趣的「太湖石」，被周春 芽創造出強烈的衝突性，非常非常刺激。」

--- 獨立策展人胡永芬 2000 年前後，延續「山石系列」，周春芽將繪畫目光轉向園林造景中更具有戲劇

感與瑰異詭譎之生命意象的「太湖石」，再度發揮嶄新的詮釋。巨大且奇詭的石塊佔據 大部分畫面，成為中央視點唯一的構圖，原先稍顯矯揉的太湖石，在他精湛的繪筆下， 展現出截然不同的風情， 在輪廓線條的處理中，圓潤裡仍帶有石頭的稜角，一剛一柔間，《太湖石》從這曖 昧中長出生命，在擁有生命的基底下，石的扭曲，便能讓人置入生命的扭曲，暴力、痛 苦的情感由此而生，石上保留的空洞，不再是大自然的原本樣態，倏忽間，竟成了一張 吶喊著、受苦的人臉。《太湖石》堪稱為周春芽石頭系列中的成熟之作，藏於畫作中的 精細對比：明與暗、剛與柔、生機與陰冷、安靜和暴力，皆凝聚在此石之中。周春芽揮 別歷史洪流的藝術脈絡、轉身埋頭發明自己的語言，以不斷自我超越、出奇變幻的美學 證實「真實的想法是非常重要的，真實比真確還要重要。」他所描繪的太湖石，並 非當時具象、流行的寫實題材，然而那被風化的太湖石體積與細膩紋理，顯現出畫家內 心的幽深的精神世界，也使他的畫作穿梭在過去和現在、中國和西方，流瀉出有別於傳 統人文山石，帶著避世情懷的靜態幽靜，而有了以刺激色彩為表現的嶄新詮釋。

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Around the year 2000, Zhou Chunya extended the Rock Series as Taihu Stone had piqued his interest. The dramatic and bizarre presence of this porous limestone in the traditional garden landscape inspired Zhou yet again to develop an interpretation entirely his own. The lofty stone occupies the majority of the painting, constituting the center of the composition. Zhou skillfully transformed what appeared to be affectation into elegance, mystique and untamed liberation. The lines are smooth yet sharp, expressing a unique attribute of Chinese mountain rocks – hollow yet potent. The hollowness is represented in burnt brown, while the loftiness of the vertical composition exudes magnificence. Even more impressive is the blood-like liquid oozing out of the wound-like holes, giving the painting the allusion of violence or overflowing erotic atmosphere. Taihu Stone, with its close ties to the tradition and literati taste, now acquires a powerful and conflicting beauty in Zhou's hands. The theme is also considered the beginning of Zhou's shifting focus towards eroticism.

"The stone has been an unfailing subject in traditional Chinese art. Its staunch solidity and its texture provide the artist a perfect medium to present their spirit and technical method. Stones from the Taihu Lake, in particular, is even more affluent and complicated. Its smooth contour demonstrates an artificial, implicit and flinty feel, with which an artist could produce a complete image without any embellishment. Stones from the Taihu Lake is also called the skeletal rock. I was trying to magnify the red earth on the rock. When I painted it, then out of my subconsciousness, blood flew out of the cave. I didn't think too much about it. Yet, once when I was lecturing at the Sichuan Fine Arts Institute, a student pointed out that my Taihu Lake Stone Series appeared to be bloody and violent. At that moment, I realized the charisma of Taihu Stone, as well as its contradictory nature."

Taihu Lake Stone embodies precisely the intrinsic violence and passion Zhou described. Standing silently against the dark and solemn backdrop, the unusual and exquisitely hollowing presence of the stone is flinty yet curvaceous, appearing dignified and distant while beaming with life. Scandalous red lurking by the dark crevices seems ready to gush out of the canvas. The polarizing contrasts and meticulous details give the composition a sense of vivaciousness that is mesmerizing. Such novel and near perfect expression in Taihu Lake Stone is a sign of Zhou's maturity in the Rocks Series. He parted from the artistic context of the mainstream, delving into the development of his own artistic language. Zhou has come to be known for continuously reinventing himself with unpredictability and breakthroughs, proving that "being authentic is very important; being authentic is more important than being accurate." The Taihu Stone he depicted does not belong to the realistic and figurative mainstream at the time. However, the weathered traces and exquisite texture on the stone are the materialization of the depth of Zhou's inner world, which allows his paintings to traverse between the past and present, East and West. Instead of the hermetic serenity found in the mountain rocks from literati traditions, Zhou has deliberated a brand new interpretation with exhilarating splendor.

圖錄：

1.《藝術當代》，上海書畫出版社，No.1， Vol.4/ 2005 年，頁 85 2.《典藏今藝術》，典藏雜誌社，2005 年 8 月，頁 117 3.《華人現代與當代藝術拍賣大典 2005》，典藏雜誌社，2005 年 3 月 展覽： 「夢 - 中國當代藝術展」，The Red Mansion Fountain，倫敦，2002 年

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Literature: 1. Art China, Shanghai Fine Arts Publishing House, No.1, Vol.4/2005, Shanghai, China, p.85 2. Artco, ARTouch, August 2005, p.117 3. Modern and Contemporary Chinese Art Auction 2005, ARTouch, March 2005 Exhibited: Dream 2002- Chinese Contemporary Art Exhibition, The Red Mansion Foundation, London, 2002

周春芽《太湖石》 2000 150 x 120 cm 油彩 畫布

Zhou Chunya, Taihu Lake Stone 2000 150 x 120 cm Oil on Canvas

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03 湧動生命力：「綠與狗」系列 在周春芽漫長悠遠的創作進程中，「綠狗」絕對是最具代表的繪畫 主題。那超乎預期的磅礡濃綠，成為藝術家系列作品中不容忽視的 符號象徵、一個顯眼迷人的時代標誌。

1994 年，朋友送給周春芽一隻德國牧羊犬──「黑根」。周春芽愛 牠如子，從送來的那 天開始，他們就一直朝夕相處，甚至同床共眠， 人狗之間因此變得越來越熟悉，促使他提筆繪畫。起先的黑根是寫 實的、畫黑色的，但在 1997 年的某一天，周春芽忽然產生將 黑根 畫成綠色的念頭。 當狂縱、違反自然規律的綠色躍然紙上，像是幻境，又似隱喻，但 形體神態又真實無比。濃豔大膽的綠色拓寬了諸多想像的可能，可 以是暴風前的寧靜，也傾訴著可以是生命未經加工的原貌。關於綠 狗的一切，都和生命之璀璨、生活的激情懷想密不可分。周春芽曾 懇切地表示 :「其實，『綠狗』在某種程度上正象徵著我自己，

它的形象以及所處的場景實際上都是我文化性格及現實生存 境遇的投射」。

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Vigorous Vitality: Green and Dog Series

In Zhou Chunya's long career, Green Dog is undoubtedly a signature series. The unexpected burst of green is so potent that it has become an iconic symbol and a sign of the times in Zhou's career.

In 1994, a friend gifted Zhou with a German Shephard – Heigan. Zhou loved Heigan like a son. Since the day they met, they had never been parted, even sharing one bed. As they became more and more familiar with each other, Zhou started to paint Heigan, initially in black. In 1997, Zhou thought, "As I painted, an idea suddenly crossed my mind – I wonder if green would work."

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Green, and wild and anti-naturalistic color for a dog, started to appear on canvas like a fantasy, a metaphor. Meanwhile, it couldn't be more real. Bold and potent green is the calm before the storm. It is also the unembellished truth of life. Everything about the green dog is about the glo-ry and passion in life. Zhou said, "Actually, to some extent, ‘Green Dog' is a metaphor of myself. Its image and setting are projections of my own cultural characters and encounters in real life."

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1994 年，對周春芽而言，是一個難以忘懷的年份。因為他多了一位家庭成員：「黑根」，一條德國牧羊犬。 對從未養過狗的周春芽來說，不僅是個新奇的生命體驗，他更對牠喜愛有加，並為之取了個鄉土親切的名字。此 後「黑根」與其意象成為周春芽最鍾愛的創作母題，筆下的「綠狗」系列亦以黑根為原型茁壯，慢慢從現實的形 象脫開來，在畫中擁有了自己的脾性與靈魂。有的狂野歡愉、有的迷惘笨拙、有的孤苦伶仃，卻全擁有如出一轍 的填實質感、豐沛不絕的生命力。 此幅《黑根》創作於 1996 年，這時的牠已經兩歲了。黑根面目仍帶有石塊肌理的繁複，不可清辨的神貌同 時形塑著如高山的巍然，泛黃的背景與單色形構的主體，彷彿一張舊照片，帶著灰塵飄揚的氣息，將那段藝術家 主人與牧羊幼犬、嬉遊玩鬧的珍貴時光重新放映。 這幅畫為當年周春芽完成後便掛置於女兒房間的作品，經由北莊畫廊代理而飄洋至臺灣，被蕭先生相中，欲 作為送給自己小女兒的禮物，殊不知周春芽的女兒褐褐因失去了這只「狗」而傷心欲絕，經雙方協調過後才回到 褐褐的房間，之後周春芽便約定再畫一幅黑根送給蕭先生。但後來，真性情的周春芽因無法複製當時的靈感而作 罷。約莫一年之後，原畫又輾轉回到蕭先生家中，至今仍靜靜地置於女兒房前玄關處。亦是此畫的生命力，勾起 了人心中的情感，在兩方的不捨中，幾番流轉，而有了這樣的故事。 1994 is a memorable year for Zhou Chunya. The year greeted the arrival of a new "family member," a German Shephard gifted by his friend. To a first-time dog owner, this is a brand new experience, and his love for the German Shephard showed. He named the dog, Heigan, which has a local flare to it, and Heigan had since become Zhou's favorite subject. As the Green Dog Series expanded, it acquired a personality and soul.

Some appear wild and pleasurable; some appear dazed and clumsy; some appear lonesome and miserable.

However, all of them share the same authenticity and vitality.

Heigan was created in 1996, when the German Shephard was a two-year-old. The depiction of its face still bears resemblance to the texture of a rock, which is rigid and complex. While vaguely recognizable, the face exudes the imposing presence of a majestic mountain. The unpretentiously realistic depiction against a monochromatic background draws viewers' attentions, breaking all conventional understanding of what is abstract and rational. Like an anachronistic photo from the past that is fading and dusty, the painting replays treasured moments between Zhou and the young puppy.

After completing this painting, Zhou once hung it in his daughter's bedroom. Coincidentally, after Beizhuang Gallery brought the painting to Taiwan, Hsiao Chong-Ching bought it as a gift to his youngest daughter. Unbeknownst to them, Zhou's daughter was saddened over the loss of this painting. After back and forth correspondence between the two families, the painting returned to Zhou's daughter, Hehe's room, and Zhou promised to create another painting of Heigan for Hsiao. However, the stroke of genius that inspired this painting could not be recreated. Being an artist who is always true to himself, Zhou eventually returned this painting to Hsiao a year later. To this day, Heigan hangs quietly by the entry way to his daughter's room.

Once torn between two families, Heigan found a permanent home across the Taiwan Strait, to be adored by its admirers, and to stay in this memorable story shared by Zhou and Hsiao.

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周春芽《黑根》 1996 100 x 80 cm 油彩 畫布

Zhou Chunya, Heigan 1996 100 x 80 cm Oil on Canvas

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「 希代來貢，作珍皇家。骨相多奇，儀表可嘉。足懸鉤爪，口含素牙。首類驤螭，尾如 騰蛇。修頸闊腋，廣前捎後。豐顱促耳，長叉緩口。舒節急筋，豹耳龍形。蹄如結鈴， 五魚體成。勢若凌青雲，目若泉中星。轉視流光，朱曜赤精。」

--- 西晉文學家傅玄《走狗賦》 在上述引文中，能夠看見文學家傅玄將狗的樣貌神態以稍顯誇飾的筆法描繪而出，形容狗

擁有豹的耳朵，龍的形狀。體態就像是水中青雲的倒影一樣優雅，目光宛如泉中的星星一樣明 亮，眼眸之間流轉光彩。

1997 年周春芽將黑根塗繪成綠色，從未預料過的豔彩和狗的結合，使這系列的作品擁有 戲劇張力。但綠色是個「偶然」，是一種即興之下演變出的反自然色彩運用，是周春芽心中一 個難以說清的情感，於是後來的周春芽反覆地揣摩這「綠色習作」，並順其自然地接應一切變 化，任憑這積極鮮活的色彩，流淌至生命各處、揭曉無數個驚喜，也成為其藝術生涯深受推崇 的創作大題。 《綠色的黑根》作為反自然色彩的初步嘗試，添加不少超現實的奇異元素，讓綠狗如置身 夢境的角色。整身的綠或深、或淺地表現輪廓與姿態細節，惟獨牙齦上對比的紅色。用誇張的 筆法為黑根灌注活靈活現的神態。出乎意料的筆法和色彩，讓「黑根」成為純然的野性，宛如 褪去了被人類馴化的外衣，展露出更加真實的部分。 In 1997, Zhou Chunya painted a green Heigan for the first time. It was a green so compelling that it was utterly unexpected on a dog. However, the green Heigan was purely accidental. Zhou explained, "I initially painted the dog black with sporadic green, black partially mixed with green. I rather liked it, so I augmented the green until it finally took over.

This is accidental, this anti-naturalistic use of color. This is a color forced upon the dog by the artist. Actually, the green represents something unexplainable inside the artist's mind."

This "accident", the accidental green that permeated Heigan, represents luck, hope or any meanings bestowed upon it. Time and again, Zhou savored this "green exercise," and accepted all the changes that came with it. He let the vigor of this potent color flow, infiltrate all facets in life and reveal endless surprises as green dog became an iconic theme in his career.

As Zhou's initial attempt at using anti-naturalistic colors, Green Heigan embodies surrealistic and exotic elements, as though the green dog is a creature in dreams. The dog is entirely green, with its contour and details distinguished through variation in hues. Amid the restless green, its gum, which appears red, stands out as an exception, bringing an unusual sense of calm from nature. Heigan, whose personification is purposedly exaggerated, seems soulful, baring its fangs as though shouting at humans. The only difference is, the roar represents not the conniving calculations from humans, but the harmless animalistic nature.

Behind the canine portrayal is the allusion to human experience, which triggers profound contemplations with a lighthearted image.

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周春芽《綠色的黑根》 1997 150 x 120 cm 油彩 畫布

Zhou Chunya, Green Heigan 1997 150x120 cm Oil on Canvas

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「我的狗坐在我跟前，直勾勾看著我的臉。我也直勾勾看著它的臉。 它似乎是想告訴我一些事情，但它是啞巴，不會說話。 不過我懂它。我懂，此時此刻在我和它的體內，有著同一種感受， 我們並無區別，我們是一樣的，一樣顫動的火光在我們體內燃燒閃爍…… 誰又能分辨我們體內曾經閃耀著的，是什麼樣的火光 ? 於是，我們對視，不是簡單的人與獸的對視。 眼睛是平等的眼睛，深深滲透到彼此的靈魂。 在每一雙眼睛裡，在人與獸的眼睛裡， 無差別的生命因為畏懼而彼此依偎，彼此溫暖。」

--- 俄國小說家、詩人、劇作家伊凡·屠格涅夫 1995-1997 年間，周春芽開展了他的「綠狗系列」，促成創作上的巨大轉折。他以

單一綠色色彩來描繪德國狼犬「黑根」的不同形態，綠色兼具超現實、剌激而又寧靜的 視覺效果，創造出強烈的視覺衝擊，是周春芽表現主義風格的又一高峰。周春芽曾自述 這一系列的創作理念︰「尤其是《綠狗》，我更是加強了雕塑語言的趣味，我認為

它不是圖像而是畫布上的雕塑」。在此系列中，周春芽創新的運用留白的表達手法， 抹除了背景元素，把綠狗置放於純色的背景之中，更加突顯色彩之表現張力和雕塑量感， 也彷彿展示著一種孤撓不屈的存在狀態，使其充滿了存在主義、象徵主義的特色。 此幅昂然坐立的《綠狗一》，繪於 2002 年。畫家描繪出愛犬細緻的面部，牠前足 直立地蹲坐，並抬頭仰望，粉紅色的大舌垂在嘴邊，而眼神流露出忠厚真誠，卻能從中 窺見其原始野性，略略散發出威脅氣息。畫面筆觸的扭動十分繁密，在表現雕塑體積感 的同時，讓人留連於綠色的細膩轉換，把色彩和筆勢運動變成令人著迷的表現元素，也 突顯了藝術家的創作情緒與個性。 在伊凡．屠格涅夫的文字中，可以看見人與狗之間深厚的情感，令人動容，在周春 芽的作品中，亦能感受到人與狗之間的深刻羈絆。1999 年黑根因病去逝，周春芽悲痛 莫名， 曾經一度無法提筆創作。直到 2001 年，周春芽重新舉提起畫筆，將個人情感轉 化為豁達體認，描繪出綠色更加艷綠的狗，並且逐漸將嚴謹體量的筆法滑向抽象寫意， 不再指向現實生活中的具象目標，反而幻化為藝術家的態度、精神、深思與藝術信仰的 總結。 細細描繪肉眼所見的現實，而是趨近抽象，宛如他所畫的是黑根沒有實相的靈魂。 犬科動物的經典姿態、鮮豔搶眼的綠色顯得驚奇，對比出背景單色的純粹；周春芽 特意消弭了地域色彩和時空線索，也呼應「少即是多」的中國繪畫意境，讓畫面聚焦於 充滿活力的筆觸主體。那單色的濃郁色料與恣情寫意的走筆，演繹著藝術家動靜並存的 圖像語言，以及大膽的創意、無羈的自由靜態中仍見不停湧動著的內裡。整幅畫洋溢著 填實質感、豐沛渾厚的生命力，那大幅的留白、狂縱放的綠色，像是幻境，卻又真實無 比。一切都和生命之璀璨、生活的激情密不可分，情感恣意淋漓，周春芽奔放不羈的才 情和豐沛的情感賦予牠最鮮活的生命，畫出藝術家與愛狗互相度化的永恆情誼。

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Between 1995-1997 Zhou's time in Germany witnessed his gradual stylistic change to the use of intense neo-expressionistic colors that throws stunning visual punches. The anti-naturalistic colors glow flamboyantly, giving way to the Green Dog Series to come.

Green Dog was completed in 2002. Sitting tall, Heigan has its front legs upright, head tilted upwards, pink tongue hanging outside the mouth. Like Green Heigan II, Green Dog captures the classic canine posture. The vibrant green appears bizarre and unapproachable. However, from its facial expression, portrayed with meticulousness and precision, one could see in its eyes the tender, authentic, empathetic, faithful and passionate nature with slightly intimidating air. The image could be naturally associated with one's own household pet, imposing yet sensitive, loyal and brave.

When Heigan's passing came in 1999, Zhou was so deeply engulfed in grief that he was unable to paint. It was not until 2001 that he started again, turning his deep personal feelings into enlightenment in life. What he captured at this time was no longer the image of dog in intense green. His green dogs have risen out of the ashes.

He nudged from carefully calibrated strokes towards abstraction and freehand, no longer fixating on any particular objects from reality. Rather, what he painted is the summation of his attitude, contemplation, spirit and faith in art.

Green Dog and Green Heigan II both sit against the emptiness of gray and white.

Zhou intentionally left out any demarcations of space and time. This arrangement echoes the minimalistic nuance in Chinese paintings, and draws focus to his broad, energetic brushwork. The saturation of the monochromatic color and fluidity of his wild strokes are a balancing mechanism for the still and the dynamic in Zhou's artistic language, his daring creativity and liberating spirit. Appearing compact in texture, the entire painting is filled with exuberance. Unrestrained green against the empty background seems fantastical yet couldn't be more real. Everything is inseparable from the glory and passion in life, and overflown with emotions. Zhou's uninhibited talent brings Heigan to life, capturing the eternal bond between an artist and his beloved pet.

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周春芽《綠狗》 2002 150 x 120 cm 油彩 畫布

Exhibited:

Zhou Chunya, Green Dog 2002 150 x 120 cm Oil on Canvas

1. Zhou Chunya Solo Exhibition, Green Dogs, 314 International Art Centre, Bergen, Norway, 2002 2. Images of Ideas, Chinese Contemporary Oil Painting, Shenzhen Art

展覽：

1.「周春芽個人作品展．綠狗」，挪威 314 國際藝術中心，2002 年 2.「觀念的圖像 2002- 中國當代油畫邀請展」，深圳美術館，2002 年

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Museum, China, 2002

周春芽《綠色的黑根（二）》 2001 150 x 120 cm 油彩 畫布

Zhou Chunya, Green Heigan II 2001 150 x 120 cm Oil on Canvas

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《綠狗 No.1》是周春芽「綠狗系列」中少有、純粹以頭部作為主題的作品。2001 年初，周春芽走出喪狗之 痛。重拾綠狗的創作題材，他開始回憶、想像各種黑根的姿態，此時的綠狗形象更加醒目驚艷，畫布上經常流露 誇張甚至猙獰的面容，或許也恰巧反應創作者當時哀傷狂亂的心緒。此時，畫中的主角亦不再局限於德國牧羊犬， 牠們可能是友人所飼養的杜賓狗或臘犬，周春芽捕捉狗隻形體中內隱的精神與姿態，就像他極擅長將山石和人體 的結構與質地勾畫出來一般。 周春芽在《綠狗 No.1》中運用留白的表達手法，抹除了背景元素的繁雜，將綠狗置於單純的背景之中，更加 突顯色彩之表現張力和立體雕塑量感，同時綠狗的形體是由皴擦、摩擦、扭曲的筆觸所構成，筆觸的扭動十分繁 密，色彩彷佛躍動了起來，創造出強烈的視覺衝擊，使得畫中狗兒仿若灌注了周春芽與黑根間的情感，逼真而動 人。綠狗微張的嘴中探出舌頭，以極具信任的姿態仰望前方，眼神中盡展忠貞堅忍，卻也釋放出一絲緬懷。藝術 評論家呂澎在〈綠狗敘事〉一文中評述 :「狗在畫家的生活中是潛在的需要，這樣與人相比看來似乎無意識的

生命，成為逐漸減少自然性的都市環境中人的一種渴望。事實上，只有一種通情理的、具有依附性的生命也 許可以讓人感受到慰藉，使你在枯燥和空乏的社會環境裡沾染一點自然與淳樸的氣息。」綠狗以忠誠的姿態令 觀者獲得一種單純的心境。 Among Zhou Chunya's Green Dog Series, Green Dog No.1 is a rare depiction that focuses on the head only. Back in 1999 when Zhou lost Heigan, his beloved German Shephard, he was so saddened that he stopped painting dogs. It was not until early 2001 that he started again with green dog. He began reminiscing, picturing Heigan in various poses. The green dog he created during this period is even more daring, exciting and bizarre, often with exaggerated, even ferocious expressions. Perhaps this is a reflection of the grief, melancholy and chaos in his mind. At this time, he no longer just painted German Shepherds. The subject could be his friend's Dobermann or a hound. Zhou captured the spirit and attitude underneath their strong physiques in the exact way he captured the structure and texture of the mountain rocks and human bodies.

In Green Dog No. 1, Zhou placed the green dog against emptiness without any complex background elements, which highlights the tension expressed through the colors and the three-dimensional sculptural mass. The head of the green dog is formed by wrinkling, rubbing, and twisting, all of which mesh to form a tight yet complex web of churning color, full of the structural rhythm of undulating strokes. The result is a painting of powerful visual impact. The dog seems to have been enlivened with the deep bond between Zhou and Heigan, realistic and moving. With its tongue sticking out, the dog looks ahead trustfully and faithfully as a sliver of remembrance lingers. Art critic Lu Peng says in Narrating the Green Dog, "His dog was a big responsibility in the artist's life more so than human being. A dog as a companion has become an unconscious desire of many people living in cities and urban areas as they have become divorced and separated from nature. The loyalty and dependability of a dog is a comfort to people, and adds a depth of meaning, bringing color and feeling to an otherwise dull and meaningless life." With a loyal stance, the green dog brings viewers back to simplicity, while at the same time, the viewers are being drawn into streams of emotions by the past. Zhou has steadied the two in a controlled balance. The Chinese painting traditions he has internalized sets him free from conventional thinking. He effortlessly incorporates Western Neo-Expressionism into Chinese oil paintings, embracing fully his passion towards color with clever utilization, and ultimately creating a kingdom of his own.

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周春芽《綠狗 No. 1》 2005 120 x 150 cm 油彩 畫布

Zhou Chunya, Green Dog No. 1 2005 120 x 150 cm Oil on Canvas 圖錄： 《十八位中國當代藝術家 - 居住在成都》，斯民藝苑、紅與灰藝術當代，2005 年 1 月，第 84-85 頁

展覽： 「十八位中國當代藝術家 - 居住在成都」，斯民藝苑，2005 年 2 月 18 日 -5 月

20 日

Literature: Living in Chengdu: 18 Chinese contemporary artists, Soobin Art Gallery, Red and Gray Contemporary Art, Singapore, January 2005, p. 84-85

Exhibited: Living in Chengdu: 18 Chinese contemporary artists, Soobin Art Gallery, February 18 – May 20, 2005

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「 黑根在周春芽的畫中開始以綠色的形象出現，這種同時兼具着刺激與寧靜兩面 的非自然色彩，所創造的整體效果，可謂更甚于他的紅山石。綠狗持續發展的 時間很長，到現在有十多年了，周春芽還是不斷有新意與帶點冒險性的實驗加 在綠狗題材裡面。絕大部分的綠狗的身形是置身于留白場景中的，越到后來越 是大筆簡練，成為半抽象的大寫意，但是頭部細節的描繪在充滿速度的快筆之 下仍然細膩精確。換一個與山石靜物全然不同的對象主題，再一次驗證周春芽 奔放不羈的才情。」

--- 獨立策展人胡永芬 這幅《綠狗》即出自 2011 年，此時的綠狗已然成為一種象徵性的符號，它可以是

任何一隻狗，並普及化地出現於周春芽的畫布上，這已經不再有著一種現實生活中的情 感存在，而是變成了畫家態度、畫面結構和狗的姿勢的綜合體。藉由各式種類、姿態的 「狗」來傳達「原始」、「維持原貌」的生命象徵，對應著周春芽成長的社會環境及錯 落的人際關係，即使是自然事物也被加諸或深或淺的文化意義，而藝術家藉由繪筆抒發 情感，在線條色彩中投放事物表層內的靈魂。 "The 'green dog' is a symbol, a signifier that implies the loneliness of modern people and the dangers amongst them. Actually, the green dog is a symbol for myself to a certain extent, its footprint is the reflection of my real living background and cultural characters."

---Zhou Chunya

Green Dog was completed in 2011. At this time, the theme has acquired a symbolic connotation. It could represent any dogs, and Zhou started to portray it prolifically. "This is no longer the realistic manifestation of emotions, but a combination of the artist's attitude, the structure of the painting and the dog's poses." Dogs of various breeds and postures have come to signify the unembellished truth of life, a contrast to the complex social backdrop as Zhou was growing up, and to the unavoidable pretentiousness in human relationships. Even nature is tainted by cultural meanings to some extent, hence Zhou painted the wildly energetic green dog, immense and gaudy red man, and the furiously blooming peach blossom. They are that breath of fresh air that Zhou desires in the stifling city.

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周春芽《綠狗》 2011 150 x 120 cm 油彩 畫布

Zhou Chunya, Green Dog 2011 150 x 120 cm Oil on Canvas

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周春芽經典的「綠狗系列」發展的時間很長，從 1990 年代中期開始，續至 2000 年代中期，一直為畫家反覆描 繪的主題。由於「狗」在中西方藝術都是罕見的主題，周春芽創作上幾乎無古法可循，故他創造的綠狗形態總是依循 著十分個人的表達方式，不斷加入創新的元素和獨特的筆觸構成，加強了他的表現主義風格。同時，周春芽在此系列 亦表現出他對於珍愛事物所表現的感性和依戀，並以文人畫簡潔的形態打造雕塑的體積感，試圖以流動的書寫來展示 力量和速度，筆觸則暗示出肌理及觸感，在單純無暇的背景之前，狗以主角之姿躍上畫布，化身成寄予情感的象徵。 當綠狗系列以油畫蓬勃發展之餘，周春芽嘗試了一批綠狗雕塑。借著現實中的「無」，對比創作中的「有」，企 圖將畫布上的綠狗真實化，使得綠狗的主觀表現更為直接強烈，並挪借山水畫中的精髓來充實綠狗雕塑的內在品質， 轉換全新的方式來呈現，曾經「在畫布上做雕塑」而如今「在泥上畫畫」。 此件《綠狗》輕鬆坐臥、雙耳挺立靈動的姿態，彷佛對著人撒嬌，展現玩味俏皮、幽默的綠狗形象，自然流露人 與動物之間的親密情誼。周春芽將平面油畫中的皴擦、摩擦、扭曲的筆觸立體化，在雕塑上創造出寫意快活的粗礪質 感，以及大膽鮮活的趣味形象，具體地傳達一種抽象的美好感受。 Zhou Chunya's Green Dog Series spanned a decade long. It is a subject that he reiterated numerous times between the mid-1990s and mid-2000s. Since ‘dog' is an unusual subject in either Eastern or Western art, Zhou had to chart his own path, hence the distinct personal expression palpable throughout the series. A constant infusion of original elements and unique brushwork enhanced his expression, and his ambition to express sentiment and attachment towards cherished subjects is evident. He creates a simplistic sculptural presence as well as the power and velocity of lyrical lines found in the literati paintings. He expresses the textural and tactile impressions through the brush-work and delineates a strong presence with distinct positive and negative demarcations. The dog takes the lead in front of a pristine backdrop, becoming a vessel laden with emotions.

As green dog unfolded into a significant oil painting series, Zhou also made it into sculptures. Contrasting the "positive" in his creation with the "negative" in reality, he tried to materialize green dog from the canvas into threedimensional existence. The subjectivity of green dog hence becomes more direct and prominent. He enriched its inner character with the essence of Bada Shanren, depicting paintings in a new form. Whereas he sculpted on canvas in the past; he is painting with clay in the present.

In Green Dog, the protagonist sits in a relaxed pose with its head tilted towards the viewer. His ears are upright and alert, as though trying to be playful and cuddly. The portrayal reveals a deep bond between the human and animal. Zhou gave the brush maneuvers for oil painting a three-dimensional twist. While capturing a vibrant and amusing imagery with bold, rugged freehand, he also captured the beauty of abstraction.

周春芽《綠狗》 2005 67 x 38 x 93 cm 銅雕 限量 8 件

Zhou Chunya, Green Dog 2005 67 x 38 x 93 cm Bronze , edition of 8

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《Alive and Kicking》是一個討論原生欲望隨心智成長而轉換的創作，以跨界的形 式探討藝術的張力與生命的熱情，生命因為擁有欲望、情感與夢想而蓬勃躍動，周春芽 與亞米．海因 (Jaime Hayon) 正視人性本能的欲望和衝動，並將之融入當代設計的思想。 「綠狗系列」是周春芽最負盛名的代表作，這件作品中共有 30 隻大小雷同、神態 各異的綠狗，或坐或躺或站，盡情展現豐富情緒和狀貌。而「綠狗」更是一個符號，一 種傳遞意涵的媒介，在反自然色彩的呈現上，加倍表現出人性的無盡欲求。而盛裝著人 性無窮欲望的載體，是由西班牙的天才藝術家亞米．海因 (Jaime Hayon) 操刀，作風一 向以超現實的怪誕趣味聞名的他，以昆蟲甲殼、塊狀作為發想的靈感，一如既往的玩心 駕馭創作，在優雅美觀與實性之間取得平衡，線條有機俐落且極富當代性格，加諸活潑 生動的綠狗，呼喚出心底的原欲狂想。 Alive and Kicking is a discourse on the transformation of primitive desires that accompanies mental growth. It is also an interdisciplinary exploration of the tension in art and passion in life. Life flourishes because of the existence of desires, emotions and dreams, and in Alive and Kicking, Zhou Chunya and Jaime Hayon are examining and this instinctive desire and impulse, while infusing them into contemporary design thinking.

The Green Dog Series is Zhou's signature series. In Alive and Kicking, 30 green dogs of similar sizes but varied expressions are sitting, standing or lying down, exhibiting a multitude of emotions and forms. Green dog is a signifier, a messenger.

Depicted in anti-naturalistic color, it strongly alludes to the insatiable human desire.

The vessel that contains this insatiable human desire is the creation of the ingenious artist designer Jamie Hayon from Spain. Known for his surrealistic and eclectic style, he often draws inspirations from beetles and block-shaped objects. Hayon continues his usual playful style here, striking a balance between elegance and practical-ity with contemporarily clean and organic lines. In a chest of dreams filled with numerous desires symbolized by the green dogs, this design is meant to trigger the innermost desire within us.

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周春芽 X 亞米．海因 《Alive and Kicking》

Zhou Chunya and Jaime Hayon, Alive and Kicking

2012

2012 14 x 5 x 8 cm (30) 53 x 40 x 23 cm (Cabinet) 130 x 55 x 81.5 cm (Vitrine) Lacquered Wood, editon of 88

14 x 5 x 8 cm (30) 53 x 40 x 23 cm ( 外盒 ) 130 x 55 x 81.5 cm ( 玻璃櫃 ) 亮面漆木 限量 88 件 展覽： 「Alive and Kicking 爆發的生命力：周春芽＋亞米．海因 」，成都當代 美術館，中國四川，展期自 2012 年 10 月 24 日至 11 月 3 日（另一版次）

Exhibited: Alive & Kicking, Museum of Contemporary Art Chengdu, Sichuan, China, October 24 to November 3, 2012 (Another edition illustrated)

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周春芽《綠狗（小）》 2005 68 x 18 x 31.5 cm 鑄銅 烤漆 限量 8 件

Zhou Chunya, Green Dog (Small) 2005 68 x 18 x 31.5 cm Bronze with Baked Enamel, edition of 8 圖錄： 《藝術跟蹤特輯 -- 周春芽卷》 藝術跟蹤出版中心，2006 年 5 月，32-33 頁

Literature: Track Art – Zhou Chunya, Track Art Publishing Center Limited, May 2006, P.32-33

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周春芽《綠狗（中）》 2006 206 x 60 x 100 cm 鑄銅 烤漆 限量 8 件

Zhou Chunya, Green Dog (Medium) 2006 206 x 60 x 100 cm Bronze with Baked Enamel, edition of 8 圖錄：

1. 《藝術跟蹤特輯 -- 周春芽卷》，藝術跟蹤出版中心，2006 年 5 月，32-33 頁 2. 《周春芽》，上海滬申畫廊，2006 年

展覽：

1.「周春芽新作個展」，外灘三號滬申畫廊，上海，2006 年 4 月 2. 「12345 展」，藝博畫廊，上海，2006 年

Literature: 1. Track Art – Zhou Chunya, Track Art Publishing Center Limited, May 2006, P.32-33 2. Zhou Chunya, Shanghai Gallery of Art, 2006 Exhibited: 1. New Works by Zhou ChunYa, Shanghai Gallery of Art, Shanghai, Apr 2006 2. 12345 Exhibition, YiBo Gallery, Shanghai, 2006

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「藝術家對於自然有著雙重關係，他既是自然的主宰，又是自然的奴隸，他是自然的奴隸，因 為他必須用人世間的材料進行工作，才能使人理解 ; 同時他又是自然的主宰，因為他使這種人 世間的材料服從他的較高的意旨，並且為這較高的意旨服務。」

--- 歌德 此系列綠狗雕塑作品，與先前帶有皴擦、摩擦等繪筆質感的雕塑不同，銅鑄烤漆帶來光滑質感，

簡潔的流線型增添了一股現代時尚氣息，為各大美術館、基金會，及各國 藏家私人收藏。 綠狗右腳 懸空營造出生動的前行姿態，不同的舌頭色澤與尾巴垂綴程度，展現出獨一無二的生動感。綠狗系列 於上海美術館、廣東美術館、深圳美術館、上河美術館、印尼 CP 藝術基金會、印尼國家美術館公共 收藏及被中國、香港、新加坡、韓國、印尼、美國、德國、英國、法國、奧地利、荷蘭、比利時、盧 森堡等私人收藏。 "Artist have a double relationship towards nature: they are her master and her slave at the same time. They are her slave in so far as they must work with means of this world so as to be understood; her master in so far as they subject these means to their higher goals and make them subservient to them."

--- Johann Wolfgang von Goethe

The following series of Green Dog sculptures differs from the previous, in this series, the brushstroke texture is now replaced by smooth copper surface and simplistic lines that adds a contemporary touch to the artwork. The green dog’s right foot hangs in midair to create a vivid forward posture. The difference in tongue color and positioning of the tail makes each size of the work unique.The Green Dog series can be found in the public collection of Shanghai Art Museum, Guangdong Art Museum, Shenzhen Art Museum, Shanghe Art Museum, Indonesia Art Foundation, Indonesia National Art Museum. It is also in the private collection of China, Hong Kong, Singapore, Korea, Indonesia, the United States, Germany, the United Kingdom, France, Austria, the Netherlands, Belgium, Luxembourg and more.

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周春芽《 綠狗（大）》 2007 415 x 113 x 181 cm 鑄銅 烤漆 (2) 限量 8 件

Zhou Chunya, Green Dog (Large) 2007 415 x 113 x 181 cm Bronze with Baked Enamel (2), edition of 8

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04 天生爛漫：「豔紅桃花」系列 「吹龍笛，擊鼉鼓；皓齒歌，細腰舞。 況是青春日將暮，桃花亂落如紅雨。」

--- 唐朝詩人李賀

2005 年三月，周春芽在成都龍泉山遊玩時，春季裡桃花滿山怒放， 繁茂如火，藝術家他被桃花的「野」、「豔」，以及勃發不羈的生 命能量深深吸引，於此之後，一朵朵絢爛旖旎的桃花，不再是「綠 狗」身邊柔美、溫煦的陪襯角色，反而成為他一個重要的創作母題。 桃花一躍而成為畫布上的要角，在周春芽的畫布上肆無忌憚地綻放。 周春芽筆下的桃花，是明豔美好的春季即景，更是原始的自然本能、 情欲中最真誠的衝動與嚮往。他追隨內心的狀態，描繪滿山妖冶桃 花帶來的震撼，以及表現出人類的原始欲望。周春芽認為與其當一 個社會倫理學家，更願做一個正常人，說出正常人想說的話──但 這種簡單和真誠在世故者看來，的確又是一種驚訝和意外。「潰爛

之處豔若桃李」，反話正聽，這句話卻是他對繪畫的最高評價。

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--

A Born Romantic: Peach Blossoms Series

Flute blown, drum played; melodious songs and delicate dance.

As youthful days draw to an end, peach blossoms shower red rain.

--- Jiangjinjiu (Bring in the Wine)

In March 2005, Zhou Chunya was touring Longchuan Mountain in Chengdu, where peach blossom torched the mountains like blazing fire. Zhou was mesmerized by this wild beauty, this unbridled energy of life. Since then, peach blossoms rose from a quiet, gentle companion by the green dog's side to the protagonist of an important period in Zhou's career. The lavish flowers have occupied the canvas, blooming unapologetically with splendid colors exuding passion and romance.

4

Zhou's peach blossom is a snapshot of a blissful day in spring; it is his irrepressible emotions; it is a primitive instinct, the most genuine impulse and longing in one's desire. Zhou stayed true to his feelings, capturing on canvas the stunning sight of furiously blooming peach blossom as well as the endless stream of human desires. He said, "Comparing to being a social ethicist, I'd rather be an ordinary person, speaking ordinary words.

However, in the way of the world, such simplicity and authenticity are indeed surprising and unexpected. As the old saying goes, 'All that glitters is not gold.' However, this is the highest praise I could give to a painting."

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「秋叢繞舍似陶家，遍繞籬邊日漸斜。 不是花中偏愛菊，此花開盡更無花。」

--- 唐朝詩人元稹 「菊」蘊含東方特殊的人文意義，自古即象徵著清高隱逸的情操，為文人修身、養

性、明志的象徵符號。我們以「菊」的冰心玉潔作為此系列的另類開展，想像著 1997 年的周春芽醞釀的桃花緋紅世界。 周春芽的《菊花》以搖曳的姿態、清新色調和感性的筆觸，譜出花卉綻放的生命韻 律。人文式的留白予人安靜高雅的視覺感，其中恣意流淌的水綠色使黃菊如若在水中晃 漾，構成雅致的柔情似水的神祕氛圍，為後續冶豔的桃花展開溫柔序幕。 "I value artistic instinct highly, but I also value systematic knowledge…The line must be carefully drawn when dealing with knowledge and instinct. Knowledge keeps behaviors proper while instinct provides valuable freedom."

--- Zhou Chunya

Chrysanthemum is a flower of special significance in the literati culture in the East.

It has been emblematic of integrity and seclusion, as well as the cultivation of moral and virtuous characters among the literati since the ancient past. With Chrysanthemum as the unlikely opening piece for the Peach Blossom Series, let it be a metaphor for the 1997 Zhou Chunya, who was quietly planning for a crimson world.

Zhou's Chrysanthemum sways with liberating palette and powerful strokes, which is a reinterpretation of the life of the blooming flower. Solemnity converges from the quietness of the empty space, giving the flowers strength. The colors flow freely, adorning the chrysanthemum with yellow and green as the refreshing splash of blue on the upper left arrives as an unexpected surprise. This lyrical elegance is the sum of spontaneities. The image speaks with the vitality created from the masterful juxtaposition of form and color, and the tender mystique that paves the way for the flamboyant peach blossom in the days to come.

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周春芽《菊花》 1997 53 x 45.5 cm 油彩 畫布

Zhou Chunya, Chrysanthemum 1997 53 x 45.5 cm Oil on Canvas

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被譽為「中國當代最善於色彩運用的藝術家」之一的周春芽，善用色彩的各種變化， 並能將各色統合出動靜並濟的和諧感。在他四十多年來創作的系列作品中，曾多次以極 單純、僅使用一種或兩種顏色入畫，更成為創作脈絡上鮮明的一大特色，純粹色彩產生 強烈的視覺撞擊。

1997 年，周春芽與毛焰在北京中央美術學院畫廊舉辦聯展「肖像性質」時，可初 見對「桃花」主題之嘗試。《桃花二號》便是誕生於此時，雖僅是描繪自家院子的桃花 盆景，周春芽仍以鮮豔的翠綠與桃紅展開深刻且新穎的探索，運用兩色的深淺堆疊出景 深和春色。這兩個色系亦分別被廣泛延伸於綠狗系列與 2005 年後的桃花系列中，呈現 創作脈絡上的情感呼應。 Zhou Chunya is hailed as "one of the contemporary Chinese artists with the most masterful use of colors." He is adept at utilizing the color gradient, uniting different hues with a harmonious balance between the static and dynamic energies. In a career that spans over four decades, Zhou created many monochromatic or two-toned paintings. The pureness of color is a distinct trait that brings strong visual impact to viewers.

In 1997, Zhou and Mao Yan held a joint exhibition, The Nature of Portraiture, in the gallery of the Central Academy of Fine Arts in Beijing. It was then peach blossom appeared on his canvas for the first time. It was also then Peach Blossom No. 2 was born. Though it was merely a depiction of the peach blossom from a flower basin in his backyard, Zhou chose the bold green and pink as he embarked on this profound voyage and expressed his personal emotions. Showing no signs of being inexperienced, the painting is completed with ease and grace. These two colors are also applied extensively in the Green Dog Series and the Peach Blossom Series after 2005. They are the emotional echoes from different destinations in his career. The sophisticated brushwork pulls the solid colors into a compact arrangement, forming an abstraction that is nearly minimalistic. The painting is unique and expressionistic.

By contrasting bright red and green, extroverted vivacity coexists with introverted energy, signaling the arrival of Spring.

圖錄： 《紅與灰 -8 Avan-Gard Chinese Artists》， 斯民藝苑，1997，第 47 頁

展覽： 「紅與灰 -8 Avan-Gard Chinese Artists」，斯民藝苑，1997

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Literature: Red and Grey: 8 Avant-Garde Chinese Artists, Soobin Art Gallery, Singapore, 1997, P.47 Exhibited: Red and Grey: 8 Avant-Garde Chinese Artists, Soobin Art Gallery, Singapore, 1997

周春芽《桃花二號》 1997 150 x 120 cm 油彩 畫布

Zhou Chunya, Peach Blossom No. 2 1997 150 x 120 cm Oil on Canvas

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「 愛，就像是心一樣是紅色的，但並不是肉色的紅，而是純粹、像花一般的鮮紅。你在情人節時能接 受血腥的愛心嗎 ? 戰爭與愛情是沒有規則可循的，紅色無疑也是戰爭的顏色。紅色的血液是生命的 顏色，它們正慢慢流著，離開了破碎的心。」

--- 英國導演、作家 Derek Jarman 在 1998 年的《紅人》中，接續「綠狗」系列的創作特徵，周春芽再次以單一色彩表達自身的精神狀態。

畫面主體是坦蕩無拘的裸體，即使五官形象模糊不清，昂首的姿態流露傲骨。人體腳邊踏著水一般淡粉的地面， 將畫面一分為二，細察可見周春芽用黑色調清描勾勒的微縮人像與狗隻，各式光景帶來馬戲團般的奇詭，同時 也毫不掩飾的傳達暴力與性，而攀附在紅人腳上的小人，也慾望著更多，並在紅人與眾生相的對比下，將紅人 的象徵性又更往上推了一層。此外畫面右邊的黑根卻有著鮮明輪廓與明確動作，超然地扮演觀察視角。 高聳於符號化的黑狗人體之上，這並置的視覺元素，如同其綠狗之中的紅色區塊、半開的桃花之花蕊色 彩，全都象徵著原始的生命力。無論戰爭暴力或性的主題，皆是難以避諱且與人類環環相扣的領域。 「紅人」之作時常與「桃花」系列相提並論，因為人的性愛、情感和桃花是一樣的，生命力旺盛，並且真 實美麗。紅色全然地象徵生命 : 人的血液是紅的，人張顯情緒與欲望時也透著紅色，戰爭流逝的生命也是鮮紅， 教人心花怒放的滿園桃花也是桃紅，愛情固然亦是紅的，且與愛相生的，往往就是暴力與性。 The 1998 Red Man continues the signature trait of the Green Dog Series. Once again, Zhou Chunya expresses his inner state with monochromatic presentation and elements of Expressionism. The result is sensational. Occupying the center of the painting is a man who is stark naked. While the facial expression is indistinguishable, with his head held high, belly protruding forward, the red man appears arrogant.

Stepping on the pastel pink ground that almost looks like water, the red man stands in imposing stature that divides the image into two. Upon a closer examination, one would notice the miniature humans and dogs depicted in black lines. Fighting or playing, the sight seems out of place, stirring with agitation. The Heigan on the right, though, is depicted with definitude, observing this bizarre world like an outsider.

The lofty red man looms over the symbolic humans and black dogs. The visual juxtaposition perhaps expresses Zhou's resistance and reflection towards war. Like the slight touch of red in the green dog and the half-bloom petals in the peach blossom, it symbolizes the primeval force of life. War or sex, these are unavoidable subjects tied to human lives. A naked body is intrinsically natural, like all beings in nature.

Red Man is often compared with the Peach Blossom Series. Red is the unrefuted symbol of life. Human blood is red; when emotional or aroused by desire, humans flesh turns red; the lives lost in war are red; a garden full of peach blossoms is red; love, of course, is also red. Zhou is simply called upon by all beings on earth, hence leaving traces of red on canvas to express his genuine emotions.

118

Zhou Chunya, Red Man 1998 250 x 200 cm Oil on Canvas Literature: 1. Zhou Chunya, Timezone8 Limited, May 2010, p.295 2. Contemporary Artists Volume II, Zhou Chunya, December 2007, P.82

周春芽《紅人》 1998 250 x 200 cm 油彩 畫布 圖錄：

1.《Zhou Chunya》，Timezone8 Limited，2010 年 5 月，第 295 頁 2.《當代藝術叢書 第二輯 周春芽 ZHOU CHUNYA》，2007 年 12 月，第 82 頁

119

在中國繪畫傳統中，桃花是女人味、柔弱、生育和欲望的象徵，盛唐詩聖杜甫， 曾謂之桃花輕薄柔美。在周春芽眼中，「桃花」實則引聚了妖冶、狂豔、野性等各 式情緒和象徵，是生命原欲的激情與衝動，擁有著愛情般近乎狂暴的吸引力。故充 滿旺盛生命 力的桃花，就此在揮灑的筆下盛開。 此幅《桃花》創作於 2009 年，艷紅桃色盪漾春意，群花在枝頭綻放飽滿的生 命氣息。畫面中央那朵盛放的桃花倡狂不羈，幾乎不顧畫面中的其他元素，花爭相 開放，似要擠滿畫布、甚至擠破畫布，這亦如實傳達了桃花難以抵擋的生命力，充 分地利用濃麗飽和的色彩與象徵愛戀的盛發花姿呈現出「色與情」的韻味。 In the Chinese painting traditions, peach blossom symbolizes femininity, vulnerability, fertility and desire. Tang poet Du Fu once referred to the exquisiteness of peach blossom with "Wanton willow catkins dance with the wind; frivolous peach blossoms flow with the stream." In Zhou Chunya's eyes, Peach Blossom is the insignia of various emotions, provocative, alluring and untamable. It is the primitive passion and impulse, as wildly magnetic as love. He once said, "The colors of peach blossom are ambiguous, segueing into whiter shades towards the flower's rim and showing deeper crimson and rose tones towards its center. In China, these flowers are traditional symbols of romantic and sexual attractions, representing the natural instincts of life. Walking in the peach grove, I always feel energized with my heart bursting with joy and delight." Since then, the peach blossoms have been blooming gloriously on Zhou's canvas.

Peach Blossom was completed in 2009. Bright pink and lush green signal the arrival of spring, as life is in full bloom. The flower in the center blossoms unapologetically, like a stage dancer's dress flying up, thirsty for the attention from the audience. Its dominance is accentuated by the soft green, arousing viewers' senses and feelings. Elements of eroticism and emotion are represented through saturated colors and blooming flowers, a symbol of love. The violence and gentleness Zhou unleashed on canvas are enrooted in his overflowing emotions, as well as his never-ending love and passion towards life.

124

周春芽《桃花》 2009 120 x 150 cm 油彩 畫布

Zhou Chunya, Peach Blossoms 2009 120 x 150 cm Oil on Canvas

125

在構圖上層層綿延的花叢和水色，令人感覺只瞧見盛放的一隅，未見之處則引人遐 思，似是圓形但未被全盤繪出的地景，更是增強了這一份想像。中國藝評家李小山曾對 周春芽有如此評論 :「包含一種與眾不同的文氣和一種雍容的儒雅氣，他的自我帶有

古代文人的道義感，外表上看不出孤傲，卻有一層深沉的底蘊，就如徐悲鴻的那個 座右銘 : 人不可有傲氣，但不可無傲骨。」我們或許無法用任一現代主義的術語或後 現代的概念來闡述他的桃花，亦無法輕易且精准地將他無目的之筆墨與任何一位中國古 人─兩宋山水、八大、黃賓虹等人的畫風作類分。周春芽始終介於現代與傳統間，將西 方藝術與東方文人墨士的逸趣融並，透過緋紅的桃花春景，消融了時空與文化的邊界。 Zhou's artistic vocabulary is also a reflection of his personality. Chinese art critic Li Xiaoshan once described Zhou, "There is a sense of genteel and regal elegance that is different. He carries himself with the moral sense of the traditional literati. He doesn't appear arrogant or aloof on the surface, but there is depth within him." Like Xu Beihong's motto, "One shan't be proud, but one shan't be without pride." We might not be able to define his peach blossm with any modernistic terms or post-modern concepts, nor could we easily and precisely categorize his style under any of the landscape painters from Northern and Southern Song dynasties, Bada Sharen or Huang Binghong. Zhou has always held a place between the modern and traditional, combining Western art and Eastern literati traditions, while dissolving the boundaries of time, space and culture with the blush pink and verdant green in his Spring peach blossoms.

130

周春芽《桃花系列》 2009 200 x 250 cm 油彩 畫布 Zhou Chunya, Peach Blossoms Series 2009 200 x 250 cm Oil on Canvas

131

132

「黃師塔前江水東，春光懶困倚微風。 桃花一簇開無主，可愛深紅愛淺紅」

--- 唐朝詩人杜甫《江畔獨步尋花·其五》 2005 年三月，周春芽在成都龍泉山遊玩時，被遍山盛放的桃花吸引，勾起他跳脫旅遊者

的角度，深入看見萬物自然間的無形限制，在畫布上綻放絢爛旖旎的桃花，更成為周春芽極為 重要的創作系列。此幅《瘦西湖邊的那棵桃樹》成於 2019 年，是極為成熟、臻於完滿的代表 之作。 在此幅畫之中，周春芽以熱烈的油彩，完整展現出收放自如的細膩筆觸，蓬勃盛放的桃樹， 置於畫面正中央，蒼勁的枝椏向天昂然延展，桃花艷紅盛放，占據畫面主要視覺，深淺的桃花 絢爛至極，似女子佼好面容。這幅畫的元素本應是恬靜自然的溪邊一隅、純樸悠閒的田園風光， 但《瘦西湖邊的那棵桃樹》在周春芽巧筆的演繹之下，卻展現出青春燦爛的奔放氛圍，流動著 挑逗性的迷人基調。 In March 2005 when Zhou Chunya visited Longchuan Mountain in Chengdu, he found himself relishing the lush beauty of the mountain full of peach blossoms. He shed the role of a traveler and dissolved the boundaries among all beings in nature. From that point on, peach blossoms bloom unceremoniously on Zhou's canvas, cementing a series that would mark another milestone in his career, and Peach Tree by Slender West Lake, which was completed in 2019, would be a signature piece that exemplifies his maturity and perfection.

In Peach Tree by Slender West Lake, Zhou Chunya embraced the fluidity of oil paint through compliant and flexible brushstrokes in his meticulous rendering of a sophisticated composition. A blossoming peach tree is positioned in the center of the canvas. Its vigorous branches stretch out to the sky; the blooming flowers blaze through them like fire. The flowers occupy the image unapologetically. Dark or bright, they bloom with fury and extravagance, leaving behind infinite lure. The peach blossom is made up of different shades of blush, while the trees and grass are portrayed in bold shades of green that make up the solid texture in the Green Dog Series. The colors communicate an abundant sense of vibrancy. The juxtaposition of the blooming flowers, running stream and clear blue sky would have been the proper setup for a serene bucolic scene. In Zhou's interpretation though, these elements have assumed a flirtatious tone, flaunting flamboyant postures of youth.

Zhou focuses on the intensity of color and purity of form, liberating the "gentle violence" from the mediocrity of colors. There is rebelliousness in his work and yet he doesn't veer far from the tradition. He fused the two in a contemporary style that is earnest and contagious, added with his own interpretation of this kaleidoscopic world. He said, "I am painting landscapes and nature. However, they actually encompass my views on humanity." His lush visual vocabulary had abandoned all hidden and profound symbols. Instead, it guides the most essential and authentic thoughts buried deep within our heart into the open. Zhou's inimitable individuality demonstrates warmth and humanistic sentiments, making each piece a classic.

134

周春芽《瘦西湖邊的那棵桃樹》 2019 150 x 120cm 油彩 畫布

Zhou Chunya, Peach Tree by Slender West Lake 2019 150 x 120 cm Oil on Canvas

135

「花朵般的生活，彩虹般的生命」這是胡永芬為一篇周春芽的序下的標題，桃花紅人系列的作品無疑展現出這段 文字的奔放歡欣。他脫離傷痕藝術的隊伍，在畫作中展現真實璀璨的生命力，從早期以晦暗色調為主的人體山石到綠狗、 太湖石，一直到桃花紅人，皆展現出周春芽極具個人風格的線條與色彩運用。 桃花一直為中國傳統重要的元素與符號，是文人畫家詠賦的物件，從詩經中的桃花意象至東晉陶淵明《桃花源記》 呈現出隱逸與求仙的理想境界，更確立了桃花作為重要象徵的地位，到了宋代的理學的興起，桃花成了雅俗兼具、賦於 人格化的德性與操守。周春芽遠赴德國的經歷使他熟習新表現主義的的藝術形式，更使他回望中國傳統藝術，發覺裡頭 有取之不盡的寶藏。 周春芽曾直言自己對桃花的喜愛，這幅《桃花》以滿山粉嫩色調鋪墊，且層次鮮明，花心細膩立體，較無其他桃花 系列作品顯露出的奔放豔異與原始欲望，呈現出春季的溫柔本身，並散發出歌頌著春之舞曲的喜悅，令人感到心曠神怡。 從山石風景、綠狗、再到桃花紅人，周春芽的主題與技術總是跳躍多變，從山石時期顏料、色彩，筆觸堆疊濃郁的 畫法，轉變到綠狗時期的大面積留白，單色性繪畫與恣意寫意的線條走筆，又再一次大轉變，開展了璀璨豔麗、氛圍悠 然壯麗的桃花。周春芽每次的轉變都標誌出嶄新的里程碑，看似大不相同，然而對於周春芽而言，他的藝術永遠只跟他 生活的深刻，生命之璀麗真實相有關，所有的轉變都成就的作品的厚度與豐富性。 "Flowery life, rainbow-like being," this is the title Hu Yongfen has given to a preface written by Zhou Chunya.

Zhou's works on the peach blossom and red man have undoubtedly embodied the unrestrained joy expressed through these words. Zhou has a special place in art history, like an exotic breed. He drifts in the periphery of the mainstream, and yet art critics always hold a spot for him. He deviated from the calamitous Scar Art and embraced the authenticity and glory of life. Progressing from the dark tones of Rocks and Human Body to Green Dog, Taihu Stone, Peach Blossom and Red Man, Zhou has exhibited a deeply idiosyncratic use of lines and colors.

The Peach Blossom has always been a significant element in the Chinese tradition celebrated by the literati painters. It is an ancient topos found the Book of Odes; it is the utopian metaphor in Tao Yuanming's The Peach Blossom Spring from the East Jin Dynasty. Its status in the Chinese culture is solidified. When Neo-Confucianism emerged in the Song Dynasty, peach blossom also personified humanistic virtue and merits appreciated by all walks of life. Zhou's experience in Germany brought him closer to Neo-Expressionism. It also prompted him to go back his roots, to return to the traditions of Chinese art, where he discovered endless inspirations.

Zhou's Peach Blossom is intensely vivid and vibrant, which is a reflection of the astonishment that impacted him during his outings. He is direct about his genuine fondness of the peach blossom, and has turned it into vivacious expressions on canvas brilliantly. In Peach Blossom, flowers as far as eyes could see line the background in various shades of rosy pink, while the center of the flowers bleed with crimson red. Zhou's peach blossom exudes a sense of soothing pleasure like a dance music in praise of spring.

From Rocks, Landscape, Green Dog, Peach Blossom to Red Man, Zhou's progression in skills and choice of subjects is never linear. Dense layers of pigment, color and brushwork from the Rock Series phased into the monochromatic depictions in wild strokes against the vast emptiness in the Green Dog Series. Here, we witnessed yet another radical transformation, the beginning of the splendid brilliance of peach blossoms. Each transformation marks a milestone for Zhou. Each series may seem dissimilar. To Zhou, however, art always parallels the beauty and magnificence in his life. With every transformation, his art grows in profundity and richness.

138

周春芽《桃花》 2021 120 x 150 cm 油彩 畫布

Zhou Chunya, Peach Blossoms 2021 120 x 150 cm Oil on Canvas

139

Artist Index

144

駿馬

褐色的半身人體

1990 100 x 80 cm 油彩 畫布

1994 74 x 60 cm 油彩 畫布

Horse

Brown Torso

1990 100 x 80 cm Oil on Canvas

1994 74 x 60 cm Oil on Canvas

與石頭連在一起的人體

女人體 ( 二 )

1992 150 x 120 cm 油彩 畫布

1994 72.5 x 60.5 cm 油彩 畫布

Rock and Nude

Female Nude II

1992 150 x 120 cm Oil on Canvas

1994 72.5x 60.5 cm Oil on Canvas

女人體

裸女

1992 100 x 80 cm 油彩 畫布

1995 100 x 80 cm 油彩 畫布

Female Nude

Female Nude

1992 100 x 80 cm Oil on Canvas

1995 100 x 80 cm Oil on Canvas

人體的組合 93 年 3 號

裸女背影

1993 100 x 160 cm( 二連幅 ) 油彩 畫布

1996 72.5 x 60.5 cm 油彩 畫布

Combination of Nudes 1993 No.3

Nude from the Back

1993 100 x 160 cm (Diptych) Oil on Canvas

1996 72.5 x 60.5 cm Oil on Canvas

頭像

巴朗山之旅

1993 74 x 60 cm 油彩 畫布

1992 100 x 80 cm 油彩 畫布

Head

Trip to Balang Mountain

1993 74 x 60 cm Oil on Canvas

1992 100 x 80 cm Oil on Canvas

石頭

黑根

1993 72.5 x 61 cm 油彩 畫布

1996 100 x 80 cm 油彩 畫布

Rock

Heigan

1993 72.5 x 61 cm Oil on Canvas

1996 100 x 80 cm Oil on Canvas

山石系列

綠色的黑根

1995 100 x 80 cm 油彩 畫布

1997 67 x 38 x 93 cm 銅雕 限量 8 件 油彩 畫布

Rock Series 1995 100 x 80 cm Oil on Canvas

Green Heigan

中國山水

綠狗

1998 100 x 80 cm 油彩 畫布

2002 150 x 120 cm 油彩 畫布

Chinese Landsacpe

Green Dog

1998 100 x 80 cm Oil on Canvas

2002 150 x 120 cm Oil on Canvas

山石圖

綠色的黑根（二）

1999 100 x 80 cm 油彩 畫布

2001 150 x 120 cm 油彩 畫布

Mountain Rock

Green Heigan II

1999 100 x 80 cm Oil on Canvas

2001 150 x 120 cm Oil on Canvas

太湖石

綠狗 No. 1

2000 150 x 120 cm 油彩 畫布

2005 120 x 150 cm 油彩 畫布

Taihu Lake Stone

Green Dog No. 1

2000 150 x 120 cm Oil on Canvas

2005 120 x 150 cm Oil on Canvas

1997 150 x 120 cm Oil on Canvas

145

綠狗

綠狗（中）

2011 150 x 120 cm 油彩 畫布

2006 206 x 60 x 100 cm 鑄銅 烤漆 限量 8 件

Green Dog

Green Dog (Medium)

2011 150 x 120 cm Oil on Canvas

2006 206 x 60 x 100 cm Bronze with Baked Enamel, edition of 8

綠狗

綠狗（大）

2005 67 x 38 x 93 cm 銅雕 限量 8 件

2007 415 x 113 x 181 cm (2) 鑄銅 烤漆 限量 8 件

Green Dog

Green Dog (Large)

2005 67 x 38 x 93 cm Bronze, edition of 8

2007 415 x 113 x 181 cm (2) Bronze with Baked Enamel, edition of 8

菊花 1997 53 x 45.5 cm 油彩 畫布

Chrysanthemum 1997 53 x 45.5 cm Oil on Canvas

Alive and Kicking 2012 14 x 5 x 8 cm (30) 53 x 40 x 23 cm ( 外盒 ) 130 x 55 x 81.5 cm ( 玻璃櫃 ) 亮面漆木 限量 88 件

桃花二號 1997 150 × 120 cm 油彩 畫布

Alive and Kicking

Peach Blossom No.2

2012 14 x 5 x 8 cm (30) 53 x 40 x 23 cm (Cabinet) 130 x 55 x 81.5 cm (Vitrine) Lacquered Wood, edition of 88

146

1997 150 × 120 cm Oil on Canvas

綠狗（小）

紅人

2005 68 x 18 x 31.5 cm 鑄銅 烤漆 限量 8 件

1998 250 x 200 cm 油彩 畫布

Green Dog (Small)

Red Man

2005 68 x 18 x 31.5 cm Bronze with Baked Enamel, edition of 8

1998 250 x 200 cm Oil on Canvas

桃花

瘦西湖邊的那棵桃樹

2009 120 x 150 cm 油彩 畫布

2019 150 x 120cm 油彩 畫布

Peach Blossoms

Peach Tree by Slender West Lake

2009 120 x 150 cm Oil on Canvas

2019 150 x 120cm Oil on Canvas

桃花系列

桃花

2009 200 x 250 cm 油彩 畫布

2021 120 x 150 cm 油彩 畫布

Peach Blossoms Series

Peach Blossoms

2009 200 x 250 cm Oil on Canvas

2021 120 x 150 cm Oil on Canvas

147

Unleash the Big Green Dog: A Collector's Story of Contemporary Artist Zhou Chunya

《緣起 ･ 綠狗》當代藝術家周春芽與收藏家的故事

出

版 | 中誠國際藝術股份有限公司

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址 | https://www.art106.com/

發 行 人 | 蕭仲景 印

刷 | 興台彩色印刷股份有限公司

出版日期 | 111 年 7 月 初版 定

價 | 2500 元

ISBN | 978-626-96290-0-8 ( 精裝 ) 版權所有 翻印必究