大未來林舍畫廊於三月推出策展項目《遠?逸＿東方抽象與造境傳統(tǒng)》，展出七位華人前輩藝術(shù)家吳大羽、李仲生、趙無極、朱德群、陳道明、夏陽、蕭勤。從延續(xù)東方藝術(shù)精神及審美意趣的角度上，回望前輩藝術(shù)家們的創(chuàng)作，將水墨山水傳統(tǒng)中對於「逸品」及「造境」的追求，視為一理解東方抽象繪畫精神的思考視角。

Lin & Lin Gallery is pleased to present the curated exhibition Transcendence from Afar- Oriental Abstract Painting and the Tradition of Creating Ekaggatā, featuring seven Chinese leading artists Wu Da-Yu, Li Chun-Shan, Zao Wou-Ki, Chu Teh-Chun, Tommy Chen, Yan Hsia, and Hsiao Chin. From the perspective of continuing the spirit of oriental art and aesthetics, the pursuit of the “yipin” and creating ekaggatā in Chinese ink landscape painting is considered as ways to understand the spirit of oriental abstract painting.

陳道明 Tommy Chen, Untitled

2016, 130x90 cm, 壓克力顏料?畫布 Acrylic on canvas

長期以來在藝術(shù)史上東方的抽象繪畫，總是被歸類於對西方抽象繪畫的學(xué)習(xí)與仿效。然而，諸如吳大羽、李仲生乃至於更晚的五月、東方畫會的創(chuàng)作者們，持續(xù)地強調(diào)其創(chuàng)作意識中，形式表現(xiàn)與美學(xué)思考裡，東方思想的重要性，特別是對於老莊思想精神的追求……對於華人前輩藝術(shù)家而言，叔本華、尼采、黑格爾乃至於康德等，開啟了其「美學(xué)」知識性思考的西方哲學(xué)家乃至於西方美學(xué)與藝術(shù)傳統(tǒng)，並非是其原生的藝術(shù)根源，毋寧更像是一個可以借鏡方法的對象，其藝術(shù)精神的根源依舊是東方自身的老莊、禪宗思想。若以藝術(shù)歷史源流的視角上看，那麼可以說「水墨」、「書畫」更是其藝術(shù)滋養(yǎng)的根源。也因此水墨山水裡的「造境」、「寫意」得以和抽象繪畫裡的強調(diào)的直覺、感性產(chǎn)生意義上的相應(yīng)性。

For a long time in art history, oriental abstract painting has always been categorized as a form of learning and imitation of Western abstract painting. However, artists such as Wu Da-Yu, Li Chun-Shan, and the artists of Fifth Moon Group as well as Ton-Fan Group later on have continued to emphasize the importance of oriental thought in their creative consciousness, formal expression and aesthetic thinking. In particular, the spirit of Taoism is pursued.

For the Chinese leading artists, Western philosophers Schopenhauer, Nietzsche, Hegel, Kant, and even the Western aesthetic and artistic traditions have enlightened their thinking about aesthetics, but these are more like an instrument from which to learn. The roots of their artistic spirit remain in the Eastern philosophy of Taoism and Zen Buddhism. If the historical origin of art is considered, it could be said that ink painting and calligraphy are the nourishment of Chinese artists. For this reason, the creation of ekaggatā in ink landscape painting can correspond to the intuition and sensuality emphasized in abstract painting.

蕭勤 Hsiao Chin, 永久的花園-58 Giardino Eterno-58

1994, 100x100 cm, 壓克力顏料?畫布 Acrylic on canvas

恰是這個意義與概念上的相應(yīng)性，讓華人前輩藝術(shù)家們投入了抽象繪畫的創(chuàng)作中，並嘗試以抽象繪畫作為東方藝術(shù)精神的再詮釋與雄辯，更進一步地，傳統(tǒng)山水其整體構(gòu)成講求「三遠」，並以此視野開拓與創(chuàng)造繪畫裡的「境界」。此次展覽嘗試通過重新詮釋「三遠」與「逸品」意義，再一次切入華人前輩藝術(shù)家們其抽象繪畫裡的「造境」意識以及審美問題。

It is precisely this meaning and conceptual correspondence that led the Chinese artists of previous generation to engage in the abstract painting, and to try to use abstract painting as a reinterpretation of the spirit of oriental art. The exhibition attempts to re-interpret the meaning of “yipin”, and once again to explore the sense of creating ekaggatā and aesthetics in the abstract paintings of Chinese artists.

吳大羽 Wu Da-Yu

吳大羽 (1903-1988)，生於江蘇宜興，為華人第一代抽象繪畫代表，畫作不拘於對象的形似，用筆瀟灑奔放，色彩鮮明而抒情，畫面具抽象性。並創(chuàng)建體大思精的「勢象」理論，啟迪無數(shù)華人前輩藝術(shù)家，包括吳冠中、趙無極、朱德群等人均受其指導(dǎo)。

Wu Da-Yu (1903-1988) was born in Jiangsu. He is considered to be a representative of the first generation of Chinese abstract painting. His paintings are not limited by representation, as his brushwork is natural and unrestrained, his colors are bright and lyrical, and overall, his paintings are very abstract. Wu's idea of Dynamism inspired numerous Chinese artists, including Wu Guanzhong, Zao Wou-Ki, Chu Teh-Chun and others.

李仲生 Li Chun-Shan

李仲生 (1912-1984)，生於廣東韶關(guān)，是臺灣最早從事抽象繪畫創(chuàng)作的畫家，被尊稱為「臺灣現(xiàn)代藝術(shù)的導(dǎo)師」，臺灣重要的現(xiàn)代藝術(shù)團體「東方畫會」與「五月畫會」皆受其影響。李仲生的繪畫深受超現(xiàn)實畫派與佛洛伊德潛意識理論的影響，畫面構(gòu)成及線條具有東方、書法線條，以抽象的手法結(jié)合超現(xiàn)實的精神，創(chuàng)造出獨具個人特色的超現(xiàn)實抽象繪畫。

Li Chun-Shan (1912-1984) was born Guangdong. He was Taiwan's leading pioneer of abstract painting and widely regarded as the mentor of Taiwanese modern art. His legacy was influential to Taiwan's most prolific modern art groups such as Ton-Fan Group and Fifth Moon Group. Li's paintings are deeply influenced by the Surrealism and the theory of the unconscious formulated by Sigmund Freud. The composition and lines of his paintings have oriental and calligraphic characteristics, and he combines the spirit of surrealism with abstract techniques to create his own surrealist abstract paintings.

趙無極 Zao Wou-Ki

趙無極 (1920-2013)，生於北京， 1948年赴法，發(fā)展出個人獨特的抒情抽象風(fēng)格。畫面裡那如風(fēng)馳電擎的動感與張力，帶給人虛與實、輕盈與渾厚共織的想像。70年代以後，畫面構(gòu)成更加豐富多變，他自由調(diào)度畫面時空，或聚或散，或虛或?qū)?，真正進入一種淩虛禦空的自由境界。其藝術(shù)將中國的「冥想精神」和「道」的觀念表達了出來，以「無形」表現(xiàn)哲學(xué)之「大象」。

Zao Wou-Ki (1920-2013) was born in Beijing. He went to France in 1948 and established his lyrical and abstract painting style. The accelerating momentum and tension in his painting gave viewers an interwoven imagination of the tangible and the intangible, the powerful and the ethereal. After the 1970s, the contexture of his picture became richer and more dynamic. He freely adjusted the visual temporal space, with assembly and disassembly, tangibility and intangibility, and thus really entered a free realm that was above and beyond. The success of Zao Wou-Ki is in his expression of the Chinese “Tao” and this form of “meditative spirit” by borrowing the abstract method of the West.

朱德群 Chu Teh-Chun

朱德群 (1920-2014)，生於江蘇徐州，其畫風(fēng)自由奔放，用筆豪放，掌握光的運用使畫面充滿張力，筆觸、光和色彩明暗構(gòu)成畫裡的空間結(jié)構(gòu)，作品具有中國水墨的抒情意境。對朱德群而言，作畫是爲(wèi)了表現(xiàn)奔放的感情和對自然的感應(yīng)，一切靈感來自於自然。

Chu Teh-Chun (1920-2014) was born in Jiangsu. His style of painting is free-spirited, his brushwork is bold, and his mastery of light makes the paintings full of tension. The brush strokes, light and color shading form the spatial structure, giving the work the lyrical artistic conception of Chinese ink painting. For Chu Teh-chun, painting is about expressing his passionate feelings and the sense of nature. All of his inspirations come from nature.

陳道明 Tommy Chen

陳道明 (1931-2017)，生於山東濟南，為「東方畫會」成員，被譽為「八大響馬」之一。藝術(shù)家熱衷於媒材、造形、和色彩的探索，其畫作運用壓克力、水彩等水性顏料的流動性，取代了厚重濃鬱的油彩，渲染出具有音響律動、有如大氣雲(yún)圖般的畫面，透過快意大筆或細緻推移，使具象物質(zhì)和抽象氣韻在畫布上交鋒，營造出視覺上自由瀏覽的時間性空間，呼應(yīng)著藝術(shù)家內(nèi)在氣韻生動的生命意象及對「時間」瞬間的捕捉。

Tommy Chen (1931-2017) was born in Shangdong. He co-founded Ton-Fan Group and was dubbed "The Eight Highwaymen of the East." Chen has been eager to explore the variations of materials, formations, and colors. He made use of the fluidity of water-based paints such as acrylics and watercolors to generate atlas-like tableaus vibrating with musical rhythms. The concrete matters and abstract momentum come to clash on the canvas to allow the mind to freely wander in time, reflecting his inner vibrancy of life and the capture of time.

夏陽 Yan Hsia

夏陽 (1932-)，生於湖南湘鄉(xiāng)，為「東方畫會」成員，被譽為「八大響馬」之一。其創(chuàng)作以壓克力顏料操作具精神凝聚力的中國書寫性線條，筆下人物奔放靈動，並結(jié)合拓印、剪紙藝術(shù)、宮廷文人畫以及對文化物件的歷史考察，揉合文人詩畫融合的趣味，勾勒現(xiàn)代生活題材以及腦中的童年生活回憶，結(jié)合傳統(tǒng)文人長軸式風(fēng)景，重塑恬淡的新文人式簡筆山水氣質(zhì)，寧靜而和諧，清新且靈動。

Yan Hsia (1932-) was born in Hunan. He co-founded Ton-Fan Group and was dubbed "The Eight Highwaymen of the East." He uses acrylic paint to manipulate the spirit concentrated in Chinese calligraphy. His figures are bold and nimble, and combine the qualities of screen printing, paper cutting, literati and court painting, and other artifacts that he has studied and restored in the past. Combining literati interest in poetry and painting, Hsia touches on themes of modern life and childhood memories, and appropriates the traditional scroll format seen in landscape painting to form a new literary style of ideal scenery.

蕭勤 Hsiao Chin

蕭勤 (1935-)，生於上海，為「東方畫會」成員，被譽為「八大響馬」之一。其作品源自道家及禪宗的哲學(xué)思想，融合東西方文化及現(xiàn)代藝術(shù)創(chuàng)作經(jīng)驗，以直見心性的手法，來實現(xiàn)本我之精神自覺，透過創(chuàng)作手段，探討生命之旅程，發(fā)掘心靈之潛能及體悟天人合一的真義。他為中國傳統(tǒng)的思想與媒材，找到了一個新的結(jié)合與呈現(xiàn)的方式，也提供了一個東方人特有的觀點與形貌。

Hsiao Chin (1935-) was born in Shanghai. He co-founded Ton-Fan Group and was dubbed "The Eight Highwaymen of the East." His works are inspired by Taoism and Zen Buddhism. By combining traditional Chinese and western thought and materials, he achieves the spiritual self-awareness in himself, explores the journey of life and the potential of the mind, and realizes the true meaning of unity of Heaven and humanity. He finds a new way of combining and presenting traditional Chinese ideas and media, and offers an oriental perspective and appearance.