融合西方為我所用——林葆靈的彩墨探索｜Integrating the West for His Own Purpose: Lin Bao-Ling’s Exploration of Color Ink Painting
偉大的河流，掉過頭去吧！
流回山巒的懷抱
切莫相信這些低地、這些城市
在這裡，邪惡扭絞既定法則
彎曲的，都被拉成直線
這裡的風，黃濁而讓人窒息
這裡的價目表格，支配一切
這裡的田園，帶著翠綠的毒素
掉過頭去吧！順便把我也帶走！
我不但會拉手風琴 也會讀地圖
我們將從樹木的行列底下經過
我將搭建一座小屋
我們將聆聽寂靜
我們將讚揚空氣
在夜晚，我們盤算每一顆人造衛星
不要再虛擲時間了
前進吧！夥伴！
我們將忘卻口號
巨型的標語和銅管樂器
昨日已逝
我們再不須衡量利益與損失
未來終究會來，會來，會來
融合西方為我所用——林葆靈的彩墨探索
（↓ English version below）
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林葆靈 Lin Bao Ling |《旋轉木馬 III》Merry Go Round III 墨與壓克力與製圖膠片| ink and acrylic on multi media vellum| 61 x 99 cm | 2013 |
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林葆靈 Lin Bao Ling |《摩天輪與旋轉木馬 III》Ferris Wheel and Merry Go Round III 墨與壓克力與製圖膠片| ink and acrylic on multi media vellum| 61.5 x 130 cm | 2013 |
Untitled
Ye Mimi, Taiwan
Great river, turn around!
Flow back into the embrace of the mountains.
Do not trust these lowlands, these cities.
Here, evil twists the established laws;
everything curved is pulled into a straight line.
The wind here is yellow and turbid, suffocating.
The price lists here dictate everything.
The countryside here carries a verdant poison.
Turn around! And take me with you!
I can not only play the accordion, but also read maps.
We will pass beneath rows of trees.
I will build a little house.
We will listen to silence.
We will praise the air.
At night, we will count every artificial satellite.
Do not waste time any longer.
Move forward, my companion!
We will forget the slogans,
the gigantic banners and the brass bands.
Yesterday has passed.
We no longer need to weigh profit against loss.
The future will come in the end,
it will come, it will come, it will come.
Integrating the West for His Own Purpose: Lin Bao-Ling’s Exploration of Color Ink Painting
By Zhou Tong
When it comes to collecting Chinese painting from the Republican era, mainland China may appear to be bustling with activity, but in reality, the true roots of major collectors lie quietly in Taiwan. Whether they were veterans of the Kuomintang or wealthy local families in Taiwan, many shared a passion for traditional Chinese painting. This cultural inheritance, together with the National Palace Museum’s continuous promotion and exhibitions, has given Taiwan an inherent advantage in the transmission of ink painting traditions.
In addition, the first generation of indigenous Taiwanese oil painters, such as Liao Chi-Chun and Yang San-Lang, studied Japanese approaches to painting and learned Impressionist techniques from Japan, subsequently refining and adapting them. This further broadened the scope of Taiwanese appreciation of art. Doctors and scholars with an affinity for Western culture placed particular emphasis on studying and collecting early oil paintings from Taiwan and mainland China, thereby establishing important historical records and contributing significant research.
With Taiwan’s economic boom beginning in the 1980s, the island became increasingly internationalized. Those who ventured overseas earlier brought back not only ideas from contemporary art, but also made determined efforts to explore the work of Chinese artists abroad. Zao Wou-Ki, Chu Teh-Chun, and Sanyu are often referred to as the “Three Masters of the French School.” Through systematic and strategically planned research and promotion of their work, they broadened the perspectives and knowledge of Taiwan’s younger generation of artists.
As a representative of Taiwan’s emerging generation of ink painters, Lin Bao-Ling has made persistent efforts to transform Chinese painting through the language of contemporary painting. He draws upon the rational abstraction represented by Chu Teh-Chun and Lichtenstein. In the composition of his paintings, he does not adhere rigidly to a single focal point or central position, instead employing the traditional method of dispersed points of focus. He intensifies the fluidity and ambiguity of ink tones, while the backgrounds often contain the pleasure of brushwork and a sense of unreality. Within seemingly realistic scenes lies an implicit sense of immediate reality. By weakening contrasts and harmonizing the relationship between the real and the imaginary, he conceals the conflict between contemporary society and natural scenery, thereby expressing more profoundly the present state of disharmony between humanity and nature.
Compared with the flamboyance and visual assertiveness of mainland Chinese artists, Lin Bao-Ling’s works are more restrained and subtle, and are closer to the inward-looking sensibility traditionally associated with the Southern School of Chinese painting. By incorporating the opposition between light and shadow, brightness and darkness, his work acquires a more contemporary visual impact. At the same time, the deliberate weakening of surface conflicts softens the visual leaps of his color-ink paintings, suppresses disorder and cacophony, and gives his works greater tension and resonance.
Humanity has never completely departed from nature, nor can it escape the changing of the seasons and the cycles of weather. How, amid the alienation from which contemporary humanity cannot escape, can we recover the traditional ideal of the unity between humanity and nature? This is a question that each of us must confront and reflect upon.
Let us turn to the poetry of Taiwanese poet Ye Mimi to sense Lin Bao-Ling’s thoughts:
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Zhou Tong, “Integrating the West for His Own Purpose: Lin Bao-Ling’s Exploration of Color Ink Painting,” in New Poetry — Contemporary Chinese Ink Painting, exhibition catalogue, Soka Art Center, Taipei, July 2013, p. 47- 53.
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