展期 Exhibition︱2021.03.13 ~ 04.28
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
在2021新年伊始，塵三以明亮的畫面如陽光破雲而出的光芒，以琉璃般純淨透明的光與色彩，如藍色給人平和、祥瑞的感覺，使人聯想到天空、水、宇宙與寧靜的感覺，給人帶來光明希望的期待！
光、雲彩、山水一直是塵三創作的重要特色，穿梭自如的光、悠遊自在變幻莫測的雲與壯麗俊朗的山形山勢形成筆下多采多姿的豐富世界，在塵三的心中汨汨流出心象的山水風光。對其而言，山水如其胸中所懷之願，普願大地之生靈得祥和安寧。
塵三 Chen San / 寂巖流遠Solitude Mountain
水墨絹本設色 Colored ink on paper 88x83 cm 2020
塵三自創作之初，即以山水為創作之主體，觀塵三的作品表現出極大的自由性，不受拘束的心靈敞徉在藝術無垠的疆界裡。宗白華先生說：「一切美的光是來自心靈的源泉：沒有心靈的映射，是無所謂美的。」從塵三的畫可看到其心懷宇宙，包容一切萬物的理想，所以其山壯闊雄偉，如入無人的境界。賞畫之時可感受到一股奮進的勇氣與力量，與不屈不撓、不畏困難的向上精神。塵三其志直追古人之心，但不拘於傳統，而具有時代性的表現。以古法而言，畫者與山水原為一體。其人心懷高遠，則有奇山異水，天下獨絕。 山水之美，雄、幽、奇、秀，實乃畫者心之所為之。
塵三 Chen San / 幻影 Apparition 水墨絹本設色 Colored ink on paper 39x116 cm 2020
塵三自述其畫山水之初衷源自中國文人寫山水之秀美壯麗與嚴謹，如入文化山川之崇高偉壯。鉅細閱讀古代文人之偉思創建，如入浩瀚歷代藝史之深遠。如北宋畫家郭熙之《早春圖》巨峰、怪石、大小峽谷，深藏樓閣，說明其山川文化之無比深究。其象若大，之君赫然。長松亭亭，為眾木(文人)之表。其遠流之小瀑如君子，心怡之流觴。 高處之偉岸之礹崇濛濛峻嶺，如龍不可測明。仰高，叫人不敢呼吸之過急。夢幻如醉，意之所極，皆有無法深得全意。欲攀援而登，混似螻蟻捍大樹之渺小。中國山水之磅礴而不知其所浩遠。心凝所釋懷，決定以當今之思惟時代之趨，然後藝文以志，勇於不敢，始志。
塵三 Chen San / 冰流 Ice Flow 油畫 Oil on Canvas 100x90 cm 2020
由上所思，創作者必是返璞歸真的認知自我，回歸自我的真心，才能在創作的媒材上，在心靈觸發的剎那間，再現心靈的真誠體驗，創作出藝術家對整體環境，對於這世界的體悟。並使觀者經由想像達到藝術的再次創造，共感生命的精神與文化的提升。
經歷2020年COVID-19疫情給我們帶來的挑戰，讓我們了解到即使是微小的病毒，也能帶來生活巨大的改變，如量子一樣，即使微細的改變也能影響我們的未來。現狀對大家而言，反而是一個轉換的樞紐，讓人們更懂得珍惜當下。期許在這段艱辛的抗疫過程中，能像塵三畫面上帶給人的堅毅、堅忍的感受，努力勇敢的平安度過。
As the new year of 2021 begins, Chen San presents luminous compositions—light breaking through parting clouds like rays of sunshine—rendered in colors as pure and translucent as glazed porcelain. Blues evoke a sense of peace and auspiciousness in the viewer, calling to mind the sky, water, the cosmos, and stillness, bringing with them the hope and anticipation of coming light.
Light, clouds, mountains and waters have long been the feature of Chen San's practice. The light that moves with effortless freedom, clouds that drift and shift in boundless transformation, and majestic, towering mountain forms, together weaving a rich and vibrant world beneath his brush. Within Chen San's heart flows, the landscape imagery of his own inner vision. For him, mountains and waters embody the wish he holds within his mind: a universal prayer that all sentient beings upon this earth may find peace and quiet.
Since the very beginning of his practice, Chen San has taken mountains and waters as the central subject of his creation. His works reveal an extraordinary freedom that the untamed mind wandering freely in the endless domain of art. As the aesthetician Zong Baihua (宗白華) once said: "All beauty flows from the wellspring of the mind; without the mind's reflection, there can be no beauty to speak of." Through Chen San's paintings, one glimpses a heart that embraces the cosmos and holds all things within its ideal—his mountains rise vast and majestic, as though entering a realm untouched by human presence. Viewers could feel a surge of courage and strength, an unyielding spirit that presses forward undaunted by hardship. Chen San's aspiration reaches directly toward the hearts of the ancients, yet he is not bound by tradition. His work carries the distinct mark of his own era. In the tradition of classical technique, painter and landscape are one and the same. Only one whose heart reaches toward the far and the lofty can conjure mountains of wonder and waters unlike any other, unrivaled beneath heaven. The beauty of mountains and waters is, in truth, wrought by the heart of the painter himself.
Chen San describes the origin of his landscape painting as rooted in the tradition of Chinese literati depicting the elegance, grandeur, and rigor of mountains and waters, as though entering into the towering, majestic mountains and rivers of civilization itself. Through careful study of the great thoughts and achievements of ancient literati, he immerses himself in the vast, distant depths of art history. Consider the Northern Song (北宋) painter Guo Xi's (郭熙) Early Spring (《早春圖》): massive peaks and strange rocks, ravines both great and small, pavilions concealed within—all speak to an unparalleled depth of engagement with the culture of mountains and rivers. Its forms, though vast, remain vividly present. Tall pines stand solemn and upright, emblematic among trees, as the literati are emblematic among men. The small waterfall flowing in the distance is like a noble gentleman, content in the flow of its own course. From the towering heights of jagged, mist-shrouded peaks, one dares not breathe too quickly upon looking up—as if intoxicated by a dream, the mind's reach finds no end to what it seeks to grasp. To attempt the ascent feels like an ant scaling a great tree, so small before its vastness. The grandeur of Chinese landscape painting exceeds all measure of comprehension. Having settled his heart and found release, Chen San resolved to follow the currents of contemporary thought, and thereafter dedicated himself to art with courage—daring to attempt what he had not dared before. This marked the beginning of his path.
From these reflections, Chen San believes that the creator must first return to an authentic understanding of the self, in order to fully realize, through the material of creation, the genuine experience awakened in that instant when the spirit is moved. Through this, the artist gives form to their perception of the world and their reckoning with it. And through imagination, the viewer, too, may participate in a further act of creative realization—together sharing in the spiritual and cultural elevation of life itself.
Having lived through the challenges brought by the COVID-19 pandemic of 2020, we have come to understand that even something as tiny as a virus can bring about vast changes to our lives. For many, the present moment has become a pivotal turning point, one that has taught us to cherish what we have more deeply. May we, throughout this arduous struggle against the pandemic, draw upon the resilience and fortitude conveyed in Chen San's paintings, and find within them the courage to weather this passage safely and well.