卯卯采 ‧ 青圭-塵三個展
Year of the Rabbit - Chen San Solo Exhibition
開幕 Opening︱2023.03.11 (Sat) 3:00pm
藝術家親自出席開幕茶會
展期 Exhibition︱2023.3.11~ 5.3
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
網址Web︱//www.inriver.com.tw/
臉書Facebook︱//www.facebook.com/InRiverGallery
covid-19世紀病毒漸漸平息了許多，迎來光明的前景與未來，如風雨過後的陽光，顯現無限的希望與美好。
塵三 / 藤古 Old Vine Tree, 水墨、複合媒材 Mixed media on paper, 143x76 cm, 2022
卯卯釆．青圭此展給藝術的同好者，帶來藝術與生活結合的美好感受。如兔子跳躍著並嬉玩在色彩與山水中，如人在青山中遊走歡樂而輕鬆的印象。兔自古以來就以天上月神的身分被賦予神性，成為古人心中長生不老、多子多孫的美好象徵。兔子在早期文明中具有極高的地位，在出土的很多文物中，也被作成青銅器的祭祀器皿，後來有嫦娥與玉兔，與三兔共耳等圖像，寓意吉祥及對生活美好的祈願，更有著象徵靈性美感的意謂。
塵三 / 向孟克致敬 A Tribute to Edvard Munch, 水墨、複合媒材 Mixed media on paper, 91x148 cm, 2021
藝術家塵三的創作始於對內在意識的探索，之前因疫情的影響，引發人面對生命的恐慌與失措。猶記「千禧年」來臨之際，當時出現了世界末日的預言，發生許多亂象，無獨有偶在19世紀末，當時社會因工業革命科技躍昇，物質文明豐富，透過工業革命成功的國家開始侵略古文明並殖民，使得世界變得分崩離析，人心浮動不安與社會混亂。當時代表的畫家孟克，用鮮明獨特的個人視角，用帶有點神經質的線條與極光般暈眩的色彩，強烈表達生命、死亡、戀愛、恐怖和寂寞等內心感受，是20世紀初表現主義的先驅者。塵三此展作品「向孟克致敬」，畫面在瑰麗、冷峻的山水中有一輪太陽，如炫目的太陽朗照大地，使清冽的大地，彷若帶來一線生機，讓世界不再感覺那麼冰冷，帶來疫情後充滿希望與光明的未來想像。
塵三 / 蒼郁Lush Mountains, 水墨、複合媒材Mixed media on paper, 107x76 cm, 2021
在塵三眾多繪畫作品中較少有植物、花卉入畫，除了荷花或竹藉以彰表君子的氣節，與出塵的氣質外，興許是因為植物其嬌弱的身軀難以承載生命的重量。塵三多數的作品，其畫筆力渾厚、蒼勁、雄奇有力，甚至常有出奇不意地走筆，抒其胸中大千，有時逸筆草草不做過多的贅言潤飾，表其恢弘襟懷。此展中的「藤古」作品，是其畫中極為少數以紫藤入畫之佳作之一，情志高遠，老藤煥發勃然的生機。實為塵三生活中的窗前寫景，在疫情後期經常往返兩岸，回台時偶然發現庭前蔓藤扶牆而上，生命韌性極強有感。王陽明在《傳習錄》中有句名言：
你未看此花時，
此花與汝同寂？
您來看此花時，
則此花顏色一時明白起來，
便知此花不在你的心外。
人心之所以能感應萬物，道理在於人與天地萬物是一氣相通的。若能內外一體，不將環境拒之心外，自能順應萬物，使萬物為我所用。心外無物，物外無人。當人不以自我為中心，就不易受物所遷，被勞頓、繁忙、病痛、情緒等所左右，自然在人生的道路上會比較平坦順利。
塵三 / 山之華2 Mountain Blossom 2, 油畫 Oil on canvas, Φ 50 cm, 2022
塵三"山系列"的作品，在使平凡的自然表徵做出驚人的精神震撼，意味著根除人心里底層的覆畏，把形式圖像化作如陽光般傾羨的呼籲，迎接疫情後歸於平靜，充滿希望的嶄新未來。歡迎大家來共賞!
As the COVID-19 pandemic gradually subsides, similar to sunshine after a storm that reveals boundless beauty.
This exhibition, The Year of the Rabbit, offers art enthusiasts a delightful experience where art and life intertwine. Like a rabbit leaping and playing among colours and landscapes, it evokes the impression of wandering joyfully and freely through green mountains. Since ancient times, the rabbit has been endowed with divine qualities as a lunar being, representing immortality and fertility. In early civilisations, rabbits held a high status; many artefacts were made from bronze. Later, images such as Chang’e and the Jade Rabbit, as well as the motif of the “three hares sharing ears,” came to represent auspiciousness and wishes for a beautiful life, also embodying a sense of spiritual aesthetics.
Chen San develops his creative practice through a profound investigation of the inner psyche. This exploration was previously intensified by the COVID-19 pandemic, which sparked widespread existential dread and a sense of being lost. Such periods of instability echo the turn of the millennium, marked by apocalyptic fears and social upheaval, as well as the late 19th century. During that era, the rapid technological progress of the Industrial Revolution bolstered material wealth but also facilitated the colonisation of other nations, leading to global fragmentation, collective anxiety, and deep-seated social conflict. The painter Edvard Munch, a representative figure of that era, used an astriking personal perspective, with somewhat neurotic lines and a mixture of colours, to powerfully express inner emotions such as life, death, love, fear and loneliness. He became a pioneer of early 20th-century Expressionism. In Chen San’s exhibition piece 向孟克致敬 A Tribute to Edvard Munch, a radiant sun appears within a magnificent yet austere landscape. Like a dazzling sun illuminating the earth, it brings a hint of vitality to the cold terrain, offering an imagined future of hope and brightness after the pandemic.
Among Chen San’s paintings, plants and flowers rarely appear, except for the lotus flower or the bamboo, which represent the integrity and transcendent qualities of a gentleman. Perhaps it is because the delicate bodies of plants are unable to bear the weight of life. Most of Chen San’s works are marked by bold, thick brushstrokes and are sometimes unexpectedly spontaneous. Expressing the vastness within his heart. At times, he paints with swift, unembellished strokes, avoiding excessive refinement, to convey a grand and expensive spirit. One of the rare works in this exhibition featuring flora is 藤古 Old Vine Tree, in which the aged vine bursts with vitality and expresses lofty aspirations. It was inspired by a scene outside the artist’s window: during the later stages of the pandemic, as he frequently travelled between Taiwan and mainland China, he noticed a vine climbing along a wall in his courtyard, deeply moved by its resilience. Wang Yang Ming once wrote in Instruction for Practical Living: When you do not look at this flower, it and your mind are in silent stillness. When you come to look at this flower, its colours suddenly become clear. Only then do you realise this flower is not outside your mind.
The human mind can resonate with all things because it shares a unified essence with the universe. When one does not separate the inner self from the external world, one can harmonise.