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2022/03/22
2019 有彘義同-塵三水墨展
有彘義同-塵三水墨展
Aspiring Together-Chen San Chinese Ink Exibition
開幕 Opening︱2019.03.09 (Sat) 3:00pm
藝術家親自出席開幕茶會
座談會 Artist's Talk︱ 2019.03.09(Sat) 4:00pm
主講者 ∣ 藝術家塵三 x 與談人王暉之
塵三水墨畫冊發表簽書會 Chen San Ink Painting Album Release Signature Meeting
︱ 2019.03.09(Sat) 5:00pm
展期 Exhibition︱2019.03.01 ~ 2018.03.31
地點 Venue︱穎川畫廊 In River Gallery：台北市中正區仁愛路一段45號2樓
電話 Tel︱886-2-23579900
網址Web︱//www.inriver.com.tw/
臉書Facebook︱//www.facebook.com/InRiverGallery
意在言外的水墨表現
中國畫講求一種象外之意的言詮表達，心靈空間的無限延伸。讓觀者在賞畫時，透過經驗的連結，能對畫面產生一種想像，給人一種品之無盡、味之無窮的表現內涵和意蘊 。
中國畫的美學精神是朦朧的丶混沌的、內斂的、心領神會的美感，這種美感源自於中國與自然合一的天人觀，將個體的小我化入宇宙天地間。所以小舟獨泛顯示一種與世無爭，心境自在遨遊的廣闊世界。在清淡幽遠的山水間承載的是畫家心中的無限情思。因為相信大自然是生生不息的，沒有什麼東西是永恆的，因此注重的是與大自然感應，與時序並行的意識。
塵三Chen San , 春雪 Spring Snow, 水墨、複合媒材 Ink and mixed media , 79x79 cm , 2018
如北宋畫家郭熙《林泉高致》云:「見幽人山客而思居，見岩扃泉石而思游。」觀畫而升起令人悠然神往的可居可遊的畫外意，山水成為可以滌盡俗慮的心靈寄託之所。
而詩、書、畫、印的結合，是中國畫漸漸發展起來的獨有特色，一個能同時兼具的畫家需有多方面的文化素養，除了畫學、美學、還得懂哲學、文學、甚至科學…等，在現今全球化的時代，資訊的交流頻繁多元，能具備傳統的文化底蘊，又吸納西方文化的精粹融於心者，塵三先生自是不出其外。塵三早年浸淫於中國文化的思想頗深，但他不甘於只停留在傳統國畫的皴法，或乾、濕、濃、淡等墨的暈染表現。不斷地為現代水墨的創新畢其心力，其書法的表現上蒼勁有力，飛白動勢暢快淋漓，將內心的情感、涵養轉注入筆下如有神力。而其水墨作品則以書法入畫，承接的是如徐渭的寫意奔放，不拘泥於皴、擦、點、染細描勾勒，而是心境的提煉昇華。
塵三Chen San , 複岳 Endless Mountains, 水墨紙本設色 Colored Ink on paper , 23.5x142 cm , 2018
塵三先生透過破墨的表現形式，開拓個人自由意志的想像空間，其用色鮮明生動、墨色渾然交融。道家思想認為“道＂運行于個體之中，也運行于外在自然世界，對於自然之美的沈思也映射在畫家所描繪的景物中。所以在塵三的作品中，我們可以找到涵抱宇宙萬物的廣大胸襟以及對現世脈動的關懷。其作品「不求形似求生韻」，講求氤氳流動般的效果，作品中看到的是墨色的渾然交織，情景的時空交融。山水似乎跳入您的眼前，半具象的山形任由觀者自由想像而倘然悠遊其中，延展眼前未盡的畫面。比如「複岳」這件作品。
塵三Chen San , 緇 Fine, 水墨紙本設色 Colored Ink on paper , 79x80cm , 2018
塵三將情感貫注於對象，而使客觀物象充滿堅韌的生命力。使觀者面對其畫作時，油然生起生命內在的驅力，與畫面上輕透無瑕的光影、無垠的山川地貌彼此互融，達到身心通暢、心靈沉澱的美感經驗。比如「緇」與「石澗」這兩件作品。
誠如塵三先生自述：「宋代文豪東坡書法自詡 ：『書法之如墨豬。 』吾之書法黑濕、怪亂。 有明初西北畫家之怪黑、亂筆之勁、異同。中國現代水墨各出奇智，勇破舊時代傳統 。或破墨、或拓畫，形成超然的強勁之視覺。突顯當今數位時代之潮風洶湧，各用盡其力，磕首用心。以致當代水墨畫勢必應劃時空的創造不可！以盡文藝大河之兌流。塵三此次水墨展，墨色之彘黑，亦當是一決。筆黑，墨色亦黑，此乃漚心，力求視覺之心靈美感置現突前。」
「有彘義同」此展，展現的是塵三先生對傳統筆墨與現代水墨的革新，也是對當代水墨不拘於媒材的創舉，既有文人的情懷又具有當代藝術精神的表現。
Aspiring Together-Chen San Chinese Ink Exibition
The tradition of Chinese painting values what lies beyond the image itself such as an idea suggested rather than stated, which opens up a boundless space for the mind to wander. As viewers draw on their own experience, they build their own imagination around the painting, giving it a sense of depth that feels endless.
The aesthetic spirit of Chinese painting is soft-edged, blurred, restrained, and something rather unexplained. This comes from the traditional belief that humans and nature are one. A small boat floating alone suggests a mind at ease, free from worldly struggle, roaming a vast and open world. Within quiet, distant mountains and rivers lies the artist's boundless inner feeling. Since nature is always changing and nothing lasts forever, Chinese painting focuses on staying in tune with nature and moving with the rhythm of the seasons.
As the North Song dynasty (北宋) painter Guo Xi (郭熙) wrote in his treatise Linquan Gaozhi Ji (《林泉高致》): "Seeing a hidden hermit or a mountain recluse, one longs to live there; seeing rocky cliffs and flowing springs, one longs to wander there." Looking at the painting evokes an imagined place that viewers longing to live in, where the mountains and water washes out all the worries.
The combination of poetry, calligraphy, painting, and stamp carving is a signature feature that developed gradually in Chinese art. An artist skilled in all four needs a broad cultural foundation—not just painting and aesthetics, but philosophy, literature, even science. In today's globalized world of constant interactions, an artist who holds onto traditional culture while also absorbing the best of Western influence is rare. Chen San is exactly this kind of artist. In his early years, Chen San immersed himself deeply in Chinese thought, but he was unwilling to stay confined to traditional brush techniques—the dry, wet, thick, and light ink washes handed down through generations. He has continually pushed himself to innovate in ink painting. His calligraphy is bold and forceful, with flying, dry-brush strokes that feel free and unrestrained, as if his inner feelings and cultivation flow directly through the brush. His ink paintings bring calligraphy into painting itself, continuing the free, expressive spirit of the Ming dynasty painter Xu Wei (徐渭), which is not bound by fixed brush techniques, but distilled through the artist's own state of mind.
Chen San uses a splashed-ink technique (破墨) to open up space for his own imagination. His colors are vivid and lively, and his ink tones blend into one another naturally. Daoist thought holds that the Dao runs through both the individual and the natural world. Chen San's quiet reflection on the beauty of nature is reflected in the scenes he paints. In his work, we see a broad-mindedness that embraces the whole universe, alongside a genuine concern for the present world. His paintings "seek not resemblance, but the rhythm and spirit," aiming for a flowing, misty quality where ink tones merge naturally and scenes shift across time and space. The mountains and rivers seem to leap out at the viewer Their half-abstract forms leave room for the viewer's own imagination to wander freely, extending the scene beyond what the eye can see. His work Endless Mountains (複岳) is one such example.
Chen San pours emotion into his subjects, giving even inanimate scenery a strong sense of life. Standing before his paintings, viewers feel a surge of inner vitality, as light, mist, and vast mountain landscapes blend together—creating a calming, meditative experience that clears both body and mind. His works Fine (緇) and Spring between Rocks (石澗) are two such examples.
As Chen San himself has said: "The Song dynasty writer Su Dongpo (蘇東坡) once joked that his own calligraphy looked like 'ink-black pigs (書法之如墨豬).' My calligraphy, too, is dark, wet, and wild. It shares something with the bold, dark, chaotic brushwork of early Ming dynasty (明朝) painters from the northwest, yet remains distinctly my own. Chinese contemporary ink painting today is full of bold new ideas, breaking away from old traditions. Through splashed ink, through rubbing techniques—creating a striking, transcendent visual language. This reflects the fast-moving currents of our digital age, with each artist pouring everything into their own path. Contemporary ink painting must reinvent itself across time and space, to keep pace with the great flow of art and culture. In this exhibition, the deep black of my ink is also a kind of decision. Both brush and ink are black. This is where I've poured my heart, striving to bring a spiritual, visual beauty to the forefront."
This exhibition shows Chen San's innovation: bridging traditional brush-and-ink technique with contemporary ink painting, breaking free from the constraints of material, while carrying both the sensibility of the literati and the spirit of contemporary art.