【非黑造白 | Bifurcation】05/09-06/14

文/王嘉宏

水墨畫行至今時今日，歷經實驗水墨、新舊水墨之變的脫胎轉骨成為「當代水墨」。台北索卡展覽，募集了中國、台灣共六位當代水墨家，其作品廣度可從材料上由基本的黑白墨色、彩墨設色到壓克力等現代材質的運用彰顯其廣闊；內容深度則分風景、記事、寫真、摹形等收納其妙。書畫本同源，中國書法的”造白”，講的是如何以墨色走筆營造出”白”的空間感，是延續、的墨化哲學梗概，以黃賓虹所謂的「知白守黑，得其玄妙，未易言語形容。」先知白為線，是畫的主要表現，有墨無白不成線，墨色則是造形的重要手段，平穩之中帶出空靈的美感、畫面佈局充斥著想像及順暢的呼吸感，給人以特出的審美愉悅。

風景與情景

水墨畫傳統中對於風景的摹寫十分完整，初可分為寫景、寫真(人)兩項。彭慧婷、、，一反往常工筆白描及膠彩設色之法，以禿筆乾擦構圖，墨色水份淡薄、輕點渲染出迷濛變幻的雲霧風景，表現出自身與環境的關係，時間對於內在的積澱以皴法堆砌出境象，她消融了具有說明性的造型，深知「皴法須知藏，不可全露…」的道理，彭慧婷自述其創作是「藉由筆墨為媒介層層堆疊及皴染，豐厚的、真實的表述與傳遞了情感的細膩度及言語或文字造型圖像難以表達的生命狀態。」在雲山繚繞、神奇莫測的畫面上透顯出極具平淡天真與天人合一的藝術特徵。

王濛莎 的畫中充滿著花、鳥、蝴蝶與人，風韻在留白出洩露，”以情帶景”讓她的作品都是一齣齣別緻的墨戲，王濛莎喜用鮮麗的墨彩，江南水鄉的出身讓她在寫意筆法中透出氤氳水氣，濕潤如少女含淚眼眶，畫中人物面白如紙，如畫面正中的紫衣少女，臉無表情呼應題目上關於木偶隱喻，對比穠麗重彩的蝴蝶彩鳳、洋紅色愛心與鵝黃色春花，王濛莎善用戲劇化的題材作為創作養分，、帶有傳奇小說之韻味，閨閣氣重卻不哀艷，她的畫是現代社會的縮影，如水般平淡無色的人物在花花世界裡遊走、嬉玩著，弱水三千只取一瓢飲的執著天真，王濛莎將中國古典繪畫中的”摹寫”做足，以放懷恣意的”形似”讓滿園春色浸透出當代文人畫的詩意。

借氣與得勢

自往至今水墨畫追求內在”氣”的價值，氣勢、氣韻、氣暢、生氣、貫氣等，從現代觀點來說，就是創作者得飽讀詩書、遊歷世界，將千山萬水納入胸懷，轉成可為己用的人文底蘊，即context 文脈、文人氣。張致中 慣以自來水鋼筆作畫，以理性的白描技法構築出精密的微觀宇宙，他筆下的人物景致帶有破敗寂寥之感，所謂”剩山枯水”的禪境，以古法諷今事，、挪用中國傳統中龍鳳的細筆雕琢，桀驁不馴的圖面故事與工整書法的正體字相互輝映，以互文修飾的暗喻，輕鬆駕馭著赤裸的情感與文雅的藝術手法，張致中在師範美術訓練中出身，然而一走偏鋒轉向工藝性極重的寫實筆繪，但他自命以”職人”的姿態，夜以繼日地勉力構築出屬於當代的”歌百工”圖譜系列，在雋永、精準的環節故事裡，奇幻詭異的幻想角色加上優美的書法字體，他借文字之氣穿透所見事物的表面成畫，孜孜不倦地探求一種詮釋大宇宙的共同語言，哪怕他走筆微帶頹廢，可其中散發出的灼灼光華卻與之並行不悖。

楊鴻 承繼川美畫統，畫中以三種生命(自然生命、人類生命與科技生命)形式之交流、對峙的關係作為呈現，傳達出自然生命和現實文明的冷寂與蒼涼，、二作中帶有北宋巨幛山水式風格，圖面空間寬廣度與工筆疏密結合，以似青綠山水設色的古典構圖表現出如綠野仙蹤式的仙境傳說，楊鴻筆下的奇石走勢險妙，有蒲田畫家吳彬的靈動玄妙，一作中的機器人手持單枝牡丹供瓶，彷彿將供養觀音法像靈石，兩者對峙之間的火堆是隱喻著象徵啟蒙精神的光!同樣地在中，機器人化身為古畫裡的松下童子持孔雀羽毛清供，伴隨著端坐石上的現代人(真人)，相看兩不厭、欲辯已忘言，在鈷藍色的緊密構圖中難得乾淨分明之感，緊與空之間，在於得勢，他透過古今記憶重構畫面，只有懂得取捨才能隨心面對自然作畫。

恍惚與靜謐 

當現今水墨的傳統又重新被提升，混合以當代藝術現代性的概念，我們不禁陷入水墨與西方對話的難題，水墨之道，是發自內心的警醒方式，現代性的隱退（zimzum）開始發生，我們該關注的應是以技術性與物化實踐的角度，回歸現代日常生活與自然感。張天幕 的創作是一次次夢境環繞反覆操作的結果，這並不是唯心主義的餘留，而是以自身的精神與心靈層面去營造異托邦 (heterotopia)世界的過程，她以蛋彩層層堆疊、輕敷，讓圖面上的空白有了呼吸空間，讓動物成為主角，將一切屬於女性的、甜美的事務集中累積，散發出隱形的、恍惚的光，在每個消失的線條之間擺盪著靈氣，在每個游移的形狀之中重構聖潔，張天幕將水墨的氣韻轉化且融成西方油彩的光感，細膩的筆觸呼應了”造白”的離散空間。

再觀林葆靈 嫻熟於異材質濃淡暈破的墨色效果，對於光影變化的操作與演練，在他辨識度極高的作品中，光影有著可見的不可見性，看得到卻摸不到，只可憑藉視覺感官感受，這也呼應水墨山水化傳統裡”遠”(三遠)的境界，在似與不似之間、摹擬光線的種種變化，林葆靈打開了一個虛化的空間，屬於”靜謐”的各種想像，在轉瞬即變的彩墨流動中，他發展出一種屬於當代水墨的可能性:以東方內蘊之光結合西方光影技法傳統的路線。

結語

＂書在有筆墨處，書之妙在無筆墨處，有處僅存跡象無處乃傳神韻。＂（黃賓虹語）則是老莊哲學中的「計黑當白」，將六位藝術家分對討論”風景與情景”、”借氣與得勢”、”恍惚與靜謐”三個子題，其中兩極既對立卻又相輔相成，似黑白相依、有無相生，以筆墨之處來討論以黑統白、以白御黑的概念。

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【非黑造白 | Bifurcation】05/09-06/14

開幕茶會 | Reception 05/09 4pm

台北索卡於5月9日至6月14日舉辦「非黑造白」當代藝術展，參展藝術家橫跨兩岸，包含林葆靈、張天幕、張致中、王濛莎、彭慧婷與楊鴻等六位年輕藝術家共計17件作品。作品材質從黑白墨色、彩墨設色到壓克力等現代畫材皆有；內容則分風景、記事、寫真、摹形等，徹底展現當代水墨的自由彈性。

Between May 9th and June 14th, Soka Taipei will play host to, “Bifurcation” a contemporary art exhibition with participating artists from both China and Taiwan. The exhibition includes 17 pieces from six young artists: Lin Bao Ling, Zhang Tian Mu, C. C. Chang, Wang Meng Sha, Peng Hui Ting, and Yang Hong. The media they use ranges from black ink, to color ink, to acrylics, which is a highly uncommon modern use of medium in traditional Chinese ink art. Meanwhile, their styles incorporate landscapes, memorandum, portraits and imitation; truly displaying the freedom of contemporary Chinese ink art.

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(2015-04-01 《典藏投資》第92期 頁55) 

林葆靈和章天幕的作品都呈現如幻夢般的迷離，可輕易辨讀被歸類於「恍惚與靜謐」主題。林葆靈的作品總散發出華美雍容的氛圍，光彩奪目的《旋轉木馬X 》與《宮廷光影VIII》儘管勾人心魄卻也是稍縱即逝的片刻絢爛。繪於製圖膠片的顏料流淌方向難以確切掌控，一如人人爭相競逐的金錢與權力也是過眼雲煙，而帶有世事無常的感傷。 -楊椀茹

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Bifurcation

by Soka Art Center

Location: Soka Art Center Taipei

Artist(s): GROUP SHOW

Date: 9 May - 14 Jun 2015

Between May 9th and June 14th, Soka Art will play host to, “Bifurcation” a contemporary art exhibition with participating artists from both China and Taiwan. The exhibition includes 17 pieces from six young artists: Lin Bao Ling, Zhang Tian Mu, C. C. Chang, Wang Meng Sha, Peng Hui Ting, and Yang Hong. The media they use ranges from black ink, to color ink, to acrylics, which is a highly uncommon modern use of medium in traditional Chinese ink art. Meanwhile, their styles incorporate landscapes, memorandum, portraits and imitation; truly displaying the freedom of contemporary Chinese ink art. Paired up as a dialogue between two people, the six artists present their works through three subtopics: “Landscapes and Sceneries”, “Borrowed Qi and Earned Authority” and “Trance and Serenity.”

Landscapes and Sceneries

Depictions of scenery in traditional Chinese ink art are always detailed and refined, with most classified as representations of either landscapes or people. Representing this subtopic are the works of Peng Hui Ting and Wang Meng Sha. Peng fully understands that in Chinese ink art, the application of Cun Fa technique must be subtle, eliminating any harsh or apparent strokes. Her misty and ever-changing fog scenes are created with thinned ink, which she gently applies using the Xuan Ran technique. Such subtlety conveys the exquisiteness and abundance with which life moves so indescribably. Wang Meng Sha was born in the patchwork of waterways south of the Yangtze River. Every brushstroke elucidates the mistiness of water towns, like the tearful eyes of a young maiden. The ink on her canvases play unique tricks, with the characters she creates capturing the scent of a woman with none of her melancholy. Wang’s drawings are a reflection of our modern society; a flat face in a world of razzle dazzle.

Borrowing Qi and Earned Authority

Traditional Chinese ink art has always been a pursuit of the value of “qi” (air). Forms of qi include, “qi shi” (strong aura), “qi yun” (spirit of a person/object), “qi chang” (smooth qi), “sheng qi” (livelihood), and “guan qi” (continuous qi). From a modern perspective, it is to use personal experience and knowledge as one’s cultural substance. This subtopic is represented by the works of C. C. Chang and Yang Hong. Chang has always used fountain pens for his pieces. The dispirited lines form scenes of desolation, yet the fine outlines that remain form a microscopic universe. With a level of professionality, the artist records the contemporary “Ode to Walks of Life,” using traditional methods to satirize the present day. In this way, he seems to be tirelessly searching for a common language that can explain the universe. Yang Hong’s drawings are in the style of the Sichuan Fine Art Institue. He presents the conversation and conflicting relationship between the three forms of life (of nature, of human beings, and of technology). The drawings tell of the loneliness and desolation of lives in nature and modern civilization. In “Civilization” and “Ways of Conversing,” one can see an example of the North Sung Dynasty style of grand landscapes, combining spaciousness and fine penmanship. The classical composition of luscious green landscape shows a wonderland as mystical as Oz. 

Trance and Serenity

Integrating contemporary art concepts into Chinese ink art presents a challenging dialogue between the East and the West. Chinese ink art stems from the awakening of the self from within, finding one’s way back to the normal daily life and the way things should naturally be. This subtopic is represented by Zhang Tian Mu and Lin Bao Ling’s works. Zhang’s creation came from the manipulation of a recurring dream. It does not focus on what one wants, but rather the process of how one’s heart and soul reach heterotopia. She uses egg tempera to create layers of femininity and sweetness, transforming the feel of traditional Chinese ink art into the lighting of Western oil paintings. Thus, “bifurcation” is subtly echoed in a discrete space. Lin has always focused his work on light and shadow, playing with the possibilities of different forms. By imitating ever-changing lights, he opens up a blurred space in which ”serenity” is created through various imaginations. The artist has developed a new possibility for contemporary Chinese ink art, that is, combining the subtle depths of Eastern arts with the lighting techniques of the West.