當期展覽Current Exhibitions

水墨山海—當代景觀山水的形韻 Ink Mountains and Seas – The Form and Rhythm of Contemporary Landscape Paintings

洪顯超|台灣山林意象之肆(下)、蔡茂松|偉哉中橫(上)
洪顯超|台灣山林意象之肆(下)、蔡茂松|偉哉中橫(上)
黃才松|俯瞰(左)、葉志德|山居(中)、張伸熙|龍洞奇崖(右)
黃才松|俯瞰(左)、葉志德|山居(中)、張伸熙|龍洞奇崖(右)
黃才松|月光下的故事(左)、黃光男|山川風月(右)
黃才松|月光下的故事(左)、黃光男|山川風月(右)
李重重|墨靈山水
李重重|墨靈山水

名稱 水墨山海—當代景觀山水的形韻 Ink Mountains and Seas – The Form and Rhythm of Contemporary Landscape Paintings

類型 展覽 類型檢索

時間 2021/08/27 10:00 ~ 2021/10/31 18:00 時間檢索

地點 2館3樓展覽室O、2館3樓展覽室P 地點檢索

  • 中國水墨畫發展中,從傳統到當代,山水畫始終是水墨畫家們熱衷的繪畫類型,畫家透過山水風景的勾勒除了展現筆法墨韻的經營巧思,最重要的是能夠將個人的胸懷與感情寄託於山水風景之中。中國「山水」二字的概念最早出自於六朝詩人的山水詩;山水畫起源最初也並非是單純展現畫者所「觀看之景」的現實模仿,而是與當時詩學文化融合,帶有展現玄學論辯與道德意味的「玄化山水」。為提升道德與精神而來的山水畫觀看方式,所影響的是山水畫中的山水可不受限於現實、地理上的真實面貌,進而可以是想像的山水。不論是帶有真實情境或為了體現精神氣韻的想像山水,皆表明畫家如何將觀看的風景轉變為「山水」的複雜過程;其中牽涉的不僅是目下景色如何成為畫中山水的繪畫問題,還包含了山水如何與畫家個人精神融合、如何傳達畫家的義理與求道之心,以及觀畫者如何收受與領悟的各種成因。

     

    同樣的命題亦顯現在臺灣當代水墨作品之中;不同的是,畫家的目光早已從傳統的高山流水、巒山群峰轉變成了各種都市叢林、鄉村田園、峻險海岸等等的當代景觀。「景觀」(英文landscape、法文paysage)二字,雖是於二十世紀才譯自西文的詞彙,具有以觀看為主的景色取隅與構圖意涵,惟中國山水畫的觀看並非僅止於立於遠處的觀看,更包含著個人涉身其中的心靈與境界體驗。當畫家的目光朝向真實所居的四方,畫面所呈現的雖已不是傳統的「山水」,我們仍可觀察到學院出身的畫家一方面承繼於山水畫的取景構圖與墨色暈染,另一方面也以臺灣特有的景點,傳達文人山水畫思維。其他新興的當代水墨創作亦紛以創新的筆法與墨韻色彩,呈顯臺灣獨特的山脈肌理與多樣的地景面貌。

     

    面對當代景觀的各項殊異,當代水墨畫的山水意境也逐漸轉化為個人心靈感性的抽象表現,甚至是以畫家的家園景色為主、更具風土特色的臺灣「山海」。本展覽即由當代景觀山水的概念出發,展陳本館典藏的當代水墨作品,並以中國山水畫中幾項重要藝術特徵作為切入賞析作品的方法,以此深度展示臺灣水墨畫家於當代景觀不斷生成變化過程之中的領略與創造。

     

    Throughout the development of Chinese ink painting, ink artists, both traditional and contemporary, have always shown great enthusiasm for the genre of landscape. In addition to using meticulously executed ink brushwork and expressions to depict natural landscapes, more importantly, artists seek to convey their personal thoughts and sentiments through the landscapes portrayed. Traditional Chinese landscape painting is referred to as shanshui, which is a concept first recorded in landscape poetry from the Six Dynasties era of China (220 CE – 589 CE). The origin of landscape paintings was not simply based on the concept of realistically portraying the views seen; it was an amalgamation of the poetry culture at the time and also expressed arguments and ethics derived from Xuanxue, which then transformed into xuan-ized shanshui, or “mysticized” landscape. It is observed that artists of the genre’s objective of seeing was aimed at moral and spiritual improvement; therefore, they didn’t merely perceive landscapes in paintings as realistic, geographical landscapes but also imaginary ones. The complex process of transforming the landscapes seen into paintings is observed in both depictions of realistic sceneries and imaginary landscapes aimed at conveying spiritual essence. This involves not only the initial question of how the scenery before the artist can become a painted landscape, but also how a painting can fuse together with the artist’s personal ethos and convey the artist’s virtue and Taoist pursuit.

     

    The same proposition is observed in Taiwanese contemporary ink painting, but the difference is that the artists have long shifted their gaze away from traditional lofty mountains and flowing waters to various contemporary landscapes, including urban jungles, country pastures, and dynamic coastal areas. The Chinese term for landscape (or paysage in French) in jingguan was a concept adapted from the West in the 20th century, and is a term that suggests view-oriented scenery and composition. However, it differs from the Western emphasis on perspective theory to represent landscapes, because the ways of seeing involved with Chinese landscape paintings reach beyond just gazing from afar and encompasses personal immersive experiences of the mind and the realm involved. As these artists direct their gazes at their realistic surroundings, the paintings created are no longer works of shanshui in the traditional sense. There are also other new contemporary ink paintings which deconstruct and explore the fundamentals of ink, with innovative brushwork, vibrant and intense colors of ink applied to showcase the unique textural mountains and the sundry of topographical traits found in Taiwan. 

     

    Seeing the diverse medley of contemporary landscapes, landscape-oriented artistic conceptions in the genre of contemporary ink painting have also gradually shifted to show personal spiritual and emotional abstract expressions. Some artists have even opted to highlight landscapes from their own hometowns and to feature “mountains and seas” with distinctive Taiwanese regional features. This exhibition departs from this concept of contemporary landscape paintings, with ways to appreciate art shared through showing several significant features found in the genre of traditional Chinese landscape paintings. The exhibition seeks to present in an in-depth manner the realizations and innovations of Taiwanese ink artists through their unceasing evolutionary journey in contemporary landscape.

  • 依筆畫順序排列

    呂坤和 LU Kun-Ho

    李君毅 LEE Chun-Yi

    李金玉 LEE Jin-Yu

    李重重 LEE Chung-Chung

    林玉山 LIN Yu-Shan

    馬白水MA Pai-Sui

    洪顯超 HUNG Hsien-Chao

    張伸熙CHANG Shen-Hsi 

    莊連東 CHUANG Lien-Tung

    陳志良CHEN Chi-Liang

    黃才松 HUANG Tsai-Sung

    黃光男 HUANG Kuang-Nan

    葉志德 YEH Chih-Te

    蔡茂松TSAI Mao-Sung

    鄭善禧 CHENG Shan-Hsi

    廖修平 LIAO Shiou-Ping

  • 策展人:關秀惠 KUAN Hsiu-Hui

    執行團隊:研究典藏部