當代台灣膠彩畫的開創與書寫-詹前裕、李貞慧、高永隆三人展

膠彩畫從日本傳入後在台灣發展,約可分為幾個時期:發?期(1895~1923)、台府展時期(1924~1945)、省展時期(1946~1972)、正名時期(1972~1985),學院時期(1985~ )。膠彩畫在台府展時期是最輝煌的?金年代,省展時期歷經「正統中國畫」的論爭之後沒落下來,一直到解嚴之後興起了正名運動,進入台灣民主化時期,終於可以在學院教育中傳授而再興發展。台灣膠彩畫的歷史興衰正反映台灣的文化政治的變遷。

 

台灣膠彩畫從早期的日本官展風格,追求地方性色彩,到後來大量攝取西畫的表現技法,並融合水墨畫趣味,其風格的發展,歷經不同文化、不同繪畫的影響,呈現一種混雜與融合的風貌,成為最具台灣多元文化特性的畫種。

 

但自50年代後的幾十年間,膠彩畫長期處在私塾封閉系統中,自我傳承,疆化的表現形式,難以應對外在新的藝術思潮。一直到1990年代台灣膠彩畫才開始有了新的轉變格局,其改變來自學院教育的體制及新畫家的投入膠彩創作,打破封閉保守的膠彩傳承,以現代的思潮開創膠彩的新風格,由於他們的努力,近年來膠彩畫快速蓬勃發展,活動展?頻繁,在各種的官方展覽中,膠彩畫已成為一完整的獨立部門,並與水墨畫成為代表東方繪畫的畫種。

 

本展覽邀請了開創台灣膠彩畫再興,最具影響力的三位膠彩畫家展出:

詹前裕(1952~),被尊稱為「戰後台灣膠彩畫教育之父」,是膠彩畫復興最大推手,其作品以絹本為主,在工筆水墨的基礎上,融入膠彩材料技法,開創了一種新的創作模式,其精緻典雅的作品風格已成為現今台灣膠彩畫的一種典範。

 

李貞慧(1961~):就讀東海大學時受到林之助啟發,畢業後赴日本筑波大學,是自日據時期中斷五十年之後,第一批再赴日本學習日本畫的留學生,帶回了當代日本畫表現技法,引起台灣膠彩畫的技法革命,其作品在金屬箔、墨色與岩彩的結合之中,表現真實和虛幻轉換及生命的感懷,陰性書寫的特質,一直影響著當代膠彩畫美學走向。

 

高永隆(1962~)早年以水墨畫成名於畫壇,後轉入膠彩創作,曾長期於西藏、新疆、日本、歐洲等地,研究古代重彩材料製作與表現技法,以入古出新創作理念,豐富肌理與繁複技法的作品,跳脫了一般膠彩樣式,加上寬廣旅歷的視野,作品氣勢磅礡,在台灣膠彩畫家中是相當獨特的一位。

 

膠彩畫長期受限於媒材及工具上的操作特性,一直難以普遍。但現今台灣膠彩畫的邊界正不斷擴大,並滲透影響到各畫種領域。台灣膠彩畫的再興代表一種文化的覺醒,詹前裕、李貞慧、高永隆三位畫家,在膠彩教育的投入,開創台灣膠彩畫新時代,而其作品風格不僅引導了當今膠彩畫走向,也顯示了膠彩畫做為一種廿一世紀再興的繪畫,已有更形高邁的反省與視界,在多元整合的基礎上,以新的創作思維,展現了自我本身的文化精神。

「殺墨4─黑白無常」洪根深創作展

皓首‧風骨

 

自我1972年來高雄40寒食,「人不輕狂枉少年」經歷「也擬哭塗窮」到「人來鳥不驚」,看太多得權欲諍爭,想繁複的社會公平公義,貼給了自己太多的標籤與符號。在藝術創作上,無論是素材的解構與辯證,或是藝術符號的表現象徵,一而再地多次推移翻轉,變革頂新;從「枯山水」、「人性系列」到「黑色情結」以至「多媒材後現代水墨」,我總是自個兒製造問題又去解脫應對,豐富而精采,詭異而剛強。

 

藝術創作是人與大自然共同享有榮辱的根基,也是時間的心靈。我的作品與台灣這塊土地大自然榮辱與共,共同呼吸,社會脈動息息相關,有著哲學的發想,也有社會學的反思。藝術作品的研究不限於作品本身,更應該探討社會狀況。因為在真空狀態下或移植開刀或櫥窗文化都是沒有血肉骨感的,而我僅存的依靠只剩下敏感的基因與不安焦慮的原創種子。

 

老了想歇,卻停不下…

 

台灣最近幾年的社會政治更迭轉型,並沒有預期像1987年後解嚴時期的彭湃多彩,反而像是走鋼索馬戲,危險而又嬉謔,無奈又無助…。台灣命運的悲劇難道是既已命定的「虛無」原象,如何用「真有」來表現。

 

從國土買賣、食安問題、都市重劃直溯教改文化的怪獸…,我們一連串的引頸期盼以迎王師的果敢英姿雄風,希望能「大風起兮雲浩蕩」,?也落個一頭霧水,霧裡看花。這些都成為湯藥的藥引子,當然個人生活的寫性抒情也藉著諷刺與誇張,來訴說玩笑一已的孤芳自賞與風潮。夜郎自大的不像個純粹造型的藝術家,我也意識到如此的冷冽乖戾,對畫廊對老婆來說都不是好事,所以畫廊的邀展甚少,因為盡出「冷盤」,真會令人「五味雜陳」。

 

話說回來,去年一整年,除了抄經沒事幹,只好躲藏畫室埋首作畫。「102」膽子大竟敢搞開大門邀請個展。一諾千金,全新的作品容不下「102」的空間,但十來張的作品有「六界」也有「五蘊」,有「般若」也有「無明」,但我總在作品中修持,讓生命有所「菩提」,讓台灣的社會環境、文化藝術在原鄉的心靈中有所悟覺。我一本正視現實「人道主義」精神用於「審視世界」、「詮釋藝術」是很辛苦的、寂寞的,但我卻樂得躲在破舊的眷村畫室咖啡色料裡,想著與劉禹錫「陋室銘」一起「調素琴,閱金經,無絲竹之亂耳,無案牘之勞形」,或讓自個兒發呆瞧鏡中裡的

                                            皓首的身軀

                                            身後的風骨           

《心境即景》-范思琪、徐詩沛、蔡依潔三人聯展

「這是最好的時代,也是最壞的時代;這是智慧的時代,也是愚蠢的時代;
這是篤信的時代,也是疑慮的時代;這是光明的季節,也是黑暗的季節;
這是希望的春天,也是絕望的冬天;我們什麼都有,也什麼都沒有;
我們全都會上天堂,也全都會下地獄。」

狄更斯的《雙城記》訴說著這樣一個時代,而我們不也正處於這樣一個時代中?

資訊、物質的快速更迭,心靈卻更加空虛。藉由風景中所隱藏的時代記憶,以更內化、更深層的方式去探討創作者心中(眼中)的風景呈現。「心境即景」便是在這樣的前提下所引發出的策展主題。

創作對范思琪來說,是個神秘、難以描述的過程。這個旅程沒有繁複厚重的行囊,一切從簡,緊隨初衷。旅程中,線條是認知它的方式,直線與曲線在動靜的節奏裡,和它相遇,用身體和它對話。因為它,讓快速流動的世界慢了下來,且重新找到連結世界的方法。

徐詩沛透過畫作與文字來詮釋時間與空間,以內心的生命層次,表達出沉穩卻撼動人心的共鳴。在這樣喧鬧紛擾的生活裡,去傾聽、去面對內心沉寂的聲音。

蔡依潔的作品以都會風景作為創作題材,有感於在都市生活的人們,慣於透過各種影像的框架來凝視風景,經由顏料的飽和色與塑料質地,描繪各種經過編修、剪輯的風景圖像置於我們日常中的當代景觀。

不同的生活歷練與成長背景差異,造就對心境不同的描繪。在這樣的時代裡,三位藝術家透過創作來詮釋他們所見的世界,亦讓觀者一窺藝術家們內心的人生景致。

 

It was the best of times, it was the worst of times,

it was the age of wisdom, it was the age of foolishness,

it was the epoch of belief, it was the epoch of incredulity,

it was the season of Light, it was the season of Darkness,

it was the spring of hope, it was the winter of despair,

we had everything before us, we had nothing before us,

we were all going direct to Heaven, we were all going direct the other way…

Aren’t we living in the same time as Charles Dickens describes in A Tale of Two Cities?

The circulation of information and substances is getting faster but our soul is becoming emptier than ever. Through the memory of time hidden in the scenery, the more internalized and deeper way is applied to explore the creator’s expression of scenery in mood/eye. “Mood Scenery” is therefore a theme generated on the premise of this inspiration.

For Fan, Sih-Ci, the artistic creation is a process that is mysterious as well as beyond description. The journey is carried out without burden. It is simple and clings to the original aspiration. In the journey, lines are the way she cognizes her own creation. Straight lines and curves come across it in silent and moving rhythm, using body to communicate with it. Because of it, the fast pace of the world slows down. She finds a new way to connect with the world.

Hsu, Shih-Pei interprets time and space through drawing and words. She expresses the profound and touching resonance through the hierarchy of life in heart. In a restless world like this, she listens and faces the silent voice in heart.

Tsai Yi-Chieh’s work is created based on city landscape. She is inspired by the way that people in urban cities are used to gazing upon scenery through diverse image frames. She uses saturated colors and plastics material to draw various modified and edited scenery pictures placed within our daily contemporary view.

Different life experiences and growing backgrounds make distinctive descriptions of mind. In the time like this, three artists interpret the world they see through creation, which also enables the viewers to take a glimpse of the life scenery in three artists’ heart.

[洛神序曲] - 高興個展

關於洛神序曲

因為台東大學三個月駐校的機緣,[洛神]和[都蘭聖山]深深嵌進心窩裡,久久難忘,像是生命的新印記。尤其[洛神]正好用祂指向二個創作的內涵,一個是追思歷史公案曹植對心儀女人神美頌賦的感懷,另一個是來自台灣東岸土地原生,滿滿山谷厚愛的賜予。

藝術在某種意義上,正是人們對心中[美神]感悟的不斷思念與詠嘆,也是歸返自然,傾聽土地、種子爆芽、生枝拓葉、花開脫萼等等,給人給土地生命的再造。

台灣後山仍保有美麗的大自然、熱情的歌聲、香醇的小米酒、有海風白浪、黃金稻田、綿延疊嶂的藍色山脈…令人駐足愛難捨離。

這些豐富莫名的感動,一到寂靜的深夜,全部化成一朵朵火紅濃烈發紫發黑的[洛神],祂的美帶著特有的土味,也是神祕的。為這個展覽記下開始蔓延對祂思念的滋味。

 

About “Luoshen Overture”

With the opportunity staying at Taitung University for three months, Luoshen and Malatan embedded deeply in my heart and it was unforgettable for a long time just like a new imprint of life, especially Luoshen which points to two connotation of creation. One is the memory of praising for crush of Cao Zhi , and the other one is from the east coast of Taiwan, the giving from the love of valley.

In certain way, art is not only the endless thoughts and chants of reflection from people’s mind to Meishen, but also the return to the nature. Listening to the land, sprouting seeds, growing branches, extending leaves, blooming flowers and falling calyx…so forth, are all recreation from people to the land. In the eastern Taiwan, there is beautiful great nature, passionate sound, mellow Kavava, sea breeze and whitecaps, golden rice fields, the blue mountain with peakes. Once people stop there, they will not want to out.

As long as the silent night comes, these rich and unexpected sensations all become one and another strong purple-black Luoshen. Its beauty brings the special smell of soil which is mysterious. Taking down and spreading the taste of missing IT for this exhibition.

愛‧幻想-賴美華創作個展

「我很少用言語表達我的想法,圖像是記錄我想法的工具。」賴美華在她的創作理念中開宗明義如是說。其實,她敏感的心有著無數的想法在蘊釀,因此習慣「用畫筆來寫日記」,一朵花、一片雲、一輪彎月、海水、音樂、文學等,感受生命中美好的事物,都是她創作的靈感。成為歌頌美麗的藝術家,是賴美華從小的心願,因此花卉、葉子、種子、眼睛等象徵美好的符號,都成為她畫中常用的創作元素,以細膩的筆觸、柔和的線條與漸層的色彩,串連而成看似美麗的作品,卻深藏著藝術家深切的情感。

賴美華的創作把對人生的感受與幻想,以個人的繪畫語彙表達出來。她以純女性觀點為基礎,描繪超現實的潛意識活動,作品構圖鮮明多變,色調強烈大膽,形成賴美華強悍的繪畫風格,呈現出內在生命的熾情,讓觀者感受到強烈的張力。 色彩和筆觸鮮明,強烈大膽的多面向畫作,讓人感染作者創作的狂喜。她畫中出現的花、臉譜、人體、動物等元素,交織成豐富而充滿性暗示的畫面。

賴美華說:「我不在意別人將我的畫看做是性的符號,性是人生一大事,是一種自然的行為,沒有應不應該或罪惡的評斷。」藝評家陸蓉之認為,賴美華可以歸為台灣原生女性主義代表人物,「她的女性主義是發乎本能的自覺,而不是一種思想性的潮流或運動,看起來欠缺理論的支持,其實正因為如此創作者反而更理直氣壯了。」賴美華的作品,充滿女性的敏銳情感,傳達對生命底層的探索,時而表現瑰麗幸福的情調,時而透出憾人詭譎的氛圍,足以喚起觀者靈魂深處的共鳴。

 

“I rarely use words to express my thoughts, painting is the tool to I use to express my ideas and thinking.” Lai Mai-Hua states the purpose of her artistic concept from the very beginning. Actually, there are many more ideas in her sensitive mind. She has long been used to recording her daily experiences through painting. Flowers, a passing cloud, a new moon, the ocean, music, literature and indeed any lovely things in the life can all inspire her to create. To become an artist capable of expressing beauty was her ambition from childhood, thus, flower, leaf, seed, eye … natural features appear throughout her work as creative elements, painted in delicate brushstrokes and gentle lines, and containing many shades of colour.

Lai´s works are full emotion and imagination, with influences from feminism and expression of the subconscious mind through surrealism; thus the composition of her paintings is bright, vivid, varied, and vibrantly-coloured. These come together to create a strongly individual character, which sets out Lai´s passion for life and leaves the viewer affected with a fierce tension. In her work, flowers, masks, human figures and animals are often interweaved closely, laid out in a way to suggest a sexual meaning.

“I don´t mind people thinking my painting symbolise sex” Lai said, “Sex is a big deal for human beings, sex is a kind of naturalness.” Art critic Lu Yung-Chi recognises Lai as significant in Taiwanese native feminism: “Lai´s feminism originates in her instinct of conscientious initiation, not as part of a trend or a movement of ideology. It looks like it is not very theoretical, but just because of that, the artist comes across as more righteous and bold.” Above all Lai´s work is full with emotion and feminine delicacy, which expresses her thoughts and feelings about being and existence; on some occasions it shows surpassing beauty, on others it unveils a fearful secrecy.  It touches a chord with the viewer.