展覽以老物收藏做為出發，延伸至老物修繕處理，以金繕為媒介，重新去看待物與人的關係。透過陳淑華細膩繪畫般的金繕筆意，如穿越時光之旅，重塑架接物的記憶，再現另一個物件生命華麗永恆。
此次展品主要以陳淑華教授創新的金繕示範之作，及數位收藏家的金繕古物，其中也邀請師大美術系十餘位學生作品參展。期望透過工藝與各大專院校，美術系工藝系交流對話，並經由完整多元應用，來了解金繕技藝和金繕之美，紫藤廬也樂見這樣的議題在這裡發聲。

資深藝術家郭娟秋的秋藏已邁入第十二年頭，也是郭娟秋在紫藤廬舉辦的第四次藝術計劃發表。此次展題「時間是柔順的物質」─郭娟秋 秋藏6，展出32件作品，在這秋意正濃的時節開展，欣喜如採擷藝術家耕耘豐收的果實。
我們通過藝術家解構外在風景，轉化了身體性的微移於落筆，抽象的吐故納新，心象的回應抵達了不可思議的彼岸。藝術家成為一個心象的擺渡者，引領觀者進入一個奇幻密境。作品，如同從心象擺渡到畫紙的扁舟。
如何能野渡無人舟自橫？心象的擺渡者，重組山水密碼，與您相約紫藤廬，賞秋藏！
**因應二級警戒之防疫措施，開幕當日暫停舉辦茶會活動
**依照CDC及台北市政府文化局藝文活動舉辦之規範，若欲參觀畫展，請於線上預約登記

兩代人、一樣情，逢紫藤廬40周年的當下，邀請新舊兩世代用藝術打造紫藤新樣貌，打開下一個共創世代。
此次邀請笛神蔡介誠與蔡蕓翼父子聯手演出，以中西兩種不同的樂器-笛族和小提琴演繹《雲之暢想》、《天風飛揚》、《You raise me up》等膾炙人口的樂曲、搭配貴州富硒毛尖、徐耀良東方美人(六星)、1940年孫義順三票老六安等茶品洗去一週的辛勞，鬆開身上的螺絲，享受茶樂滿溢的午後時光。
邀請您5/15(六) 下午14:30-17:00，一起來紫藤共聚同樂

以一種「決定性角色」有機自然的生命物體，系統性延續開展，並試圖詮釋僅存在於「內在」相對應的生命，在另類的演出池，混沌無明的空間，述說著創世紀生命間的一種「虛擬」狀態。
藝術家劉永仁在展覽《行於紛分聚合間》看到藝術家在畫布上注入決定性角色後，開始進入這類似奇幻冥想式的演出池，在關鍵瞬間記錄當下，透過呼吸吐納，物體與空間宇宙交融統一狀態，進而心物合一。在此，奇幻的演出池一幕幕的生命對話，正準備上演.....

知名陶藝家吳偉丞，將於12月19日~2021年1月17日於紫藤廬舉行個展《凝光x片羽—吳偉丞空間陶》，有別於傳統茶器的展演，結合了空間概念的茶席裝置創作。

吳偉丞從事於陶藝創作至今20年，個人風格跳脫傳統框架，作品線條簡約，用色冷峻略帶孤傲的氣質，在形塑器物之間，保留素材天然的本質，細膩觸覺卻堆疊上拙趣線條。吳偉丞創作材料更以運用建築材料、水泥、鐵件而獨樹一幟，建構出以點線面為基礎的具體和抽象幾何空間，轉變成裝置場域，以「陶」做為空間繪畫材料，清水模板做為基底，在理性的建構與詩性的想像中擷取片羽詩句，開啟與光的對話。

吳偉丞創作理念源自建築與陶器的哲思，「建築與陶器其實有許多的共同性，皆是用泥料經由建構與鋪設的過程，砌造出的容載體；兩者蘊藏著相同的哲理，為有用心感受建材、泥料本身的紋理與質感，才能透過自己的技藝，給予它們最適合的面貌。」

當器物不只是桌上美學，而是建構一個「人，詩意的棲居」。吳偉丞的作品讓人返回對家屋的想像，對生活美的追求，回歸現象和空間的本質。「凝光」聚焦了人、空間和材料的特殊性，透過「凝光」拉開了時間和溫度、空間的想像，重新去定義「茶席空間」與「器物」之間的新關係。

《不在繁華色相中--吳士偉水墨個展》
文◎許馨文
譯◎周樂芹


睽違四年，知名水墨畫家吳士偉以41幅水墨新作，將於2020年深秋歲末與紫藤廬再度合作重續前緣。

After a four-year hiatus, renowned ink painter Wu Shih-Wei marks his long-awaited to the art scene with an exhibition this fall at Wistaria Tea House, where he will exhibit his forty-one new pieces.

這場命名為《不在繁華色相中--吳士偉水墨個展》原是吳士偉為自己60歲回顧展時的完整力作，不止是在作品形式種類以及裝裱呈現，都希望達到一場完美的展出。吳士偉以藝術創作做為專職，並於東海大學美術系任教，積極致力於創作前後共發表個展15次，聯展參與一百多場，並出版個人畫冊作品集達8本之多，由此可見他的實踐力道與創作能量。

Sight Beyond Sight: Ink Paintings by Wu Shih-Wei was originally intended to be the artist's 60th anniversary retrospective, a celebration of his extensive and storied artistic journey. Impressively, Wu has successfully navigated the challenges of being both a professional artist and a fine arts professor at Tunghai University, having presented an astonishing fifteen solo exhibitions, participated in over a hundred joint exhibitions, and published eight art anthologies throughout his career. Such a prolific career is a testament to Wu's remarkable creative and executive abilities.


吳士偉愛物推及惜物，愛花、愛魚、愛樹、愛草、愛月、愛石、愛山、愛水，以「自然」為知己，亦為「自然」之知己，他的畫，總是那麼地遠離喧囂，清新脫俗。細數著歲月，吳士偉的線性靈動依舊，墨韻深邃依舊，賦色古艷依舊，然而可以發現，在展出的新作中多了一份疏散不拘的適性，更加收放自如了。追求的水墨畫境不再是繁華的生命姿態，不以表象為先，以「一葉知秋」格物的概念進入花卉四季意境，觀看著景物瞬滅生死，道盡生命中週期的真實姿態，在顛峰與枯竭凋謝之間，物與我之間，透露著對生命的眷戀與敬意，落筆簡約中藏著細膩與靜謐，及對「自然」的情有獨鍾。

Wu has an unbounded appreciation of all living things, both animate and inanimate. Flowers, fishes, trees, grass, moon, rocks, mountains, water – nothing is too small or too big for Wu to embrace. If nature reveals truths to humankind, it is also in nature that humankind comes to understand itself. Wu's paintings, then, distance themselves from artifice, in favour of tranquility and simplicity. While Wu's new oeuvres retain and continue many of the artist's stylistic idiosyncrasies – energetic lines; profound strokes, an understated yet vibrant palette – they also exude the artist's unrestrained sense of assuredness and exuberance. The paintings convey ideas beyond sight, transcending the material surface of things. Wu's new oeuvres mark a subtle departure from the artist's earlier ink paintings; the former seeks nature, whereas the latter sought verisimilitude. Remarkably, Wu transforms the traditional aesthetic of floral ink paintings into a spiritual contemplation of the natural world – leaves and flowers not only signify the seasons; they also symbolize the transitory, ephemeral state between birth and death, between blossoming and wilting, between objects and selves. Naturally, Wu's paintings express an unbridled love and respect for life, as well as a quiet and studied meditation on nature.

吳士偉自述提到：「古人愛花，把花木視為與自身平等之物，具有生命本質的同一性，他們認為花木也有人一樣的品格和神韻；在「一視同仁」、「萬物與我為一」、「眾生平等」等，儒道釋傳統思想熏染和規範下，中國人從對花木欣賞活動所體現出來的感悟方式，也構成了世界文化視野中，別具一格的極具東方色彩的人文景觀。」而這般的人文精神，正與紫藤廬的茶道精神不謀而合，不拘泥於造作形式，以感悟之心直指內心。

According to Wu:

The ancients had a profound appreciation for flowers, and considered them to humankind's equals as they possessed the same life force. This similarity applied to the flowers' personality and ethos as well. Such perspectives harmonized nicely with existing Confucian and Taoist attitudes, such as “to treat every person equally favourably," "All things are one with me," and "All living things are equal." Hence flower appreciation has been, for a long time, an important cultural activity in Chinese culture, and eventually became associated with East Asian culture and aesthetics in general. Wistaria also embodies this literati spirit of equality and friendship, as manifest in its elegant and simple approach to tea. In the end, it is nature and the feelings that it engenders within the human soul that matters.

在此次41件展覽作品中不僅形式多樣，包括大尺寸的四聯屏、掛軸、扇面、雙面彩繪、畫框小品等等，在賦色與裝裱上更是創新的示範之作。

Sight Beyond Sight: Ink Paintings by Wu Shih-Wei will display a variety of works related to the ink painting genre, including immense four-piece screens, scroll paintings, fans, double-sided paintings, and miniature paintings, whose creative juxtaposition of paint and frame will doubtlessly delight the sight.

其中有多幅以金鉑和銀鉑加飾，並賦加與重彩，於層層疊疊間多次來回增筆，形成濃雅脫俗又別出新栽的色域，華貴又不失典雅透著淡淡的金屬光澤頗耐人尋味。

Among these paintings, a few have integrated gold and silver leaf elements alongside multiple ink layers to present an elegant and sophisticated evocation of the flowers beloved by ancient literati. Shift in front the paintings and enjoy the graceful dance of shimmering light.

雙面彩繪也是這次展品中的一大特色，正反雙面仙丹花卉呈現二種不同風情，以特殊裝裱方式夾入可旋轉的木製框架，是擺件也是畫屏，即可雙面各自觀看，賞物玩物亦賞畫賞花。

This exhibition also features double-sided paintings, with each side depicting the Chinese ixora flower in a different ambience. Set in a special rotating wooden frame, the paintings are both painting and sculpture, enabling both aesthetic trompe-l'oeil and pleasure.

枯山水與朱紅小魚，介於寫生與想象之間，微形化了物與人之間的關係，於俯視的視角，或群聚或疏離的「藻礁」以翠綠的膠彩礦物顏料敷染於墨色礁岩上，呈現覆滿綠藻的特殊環境，石青的清苔與菖蒲，平遠而深幽。以多幅並置拼貼的呈展方式，觀者彷彿可於石間跳躍戲水，悠然自在，回應著文人雅士禪意視覺，漫遊尋幽探勝的趣味。

Flora and fauna, when depicted between naturalism and imagination, symbolize the relationship between things and humans, between the observer and the observed. Aquatic reefs can represent either a communal or solitary entity. The rocks’ lichen and sedge, in their green-blue hues, convey distance and depth. Presented as a mosaic, the observer becomes immersed in an environment of water and stone, of a realm of tranquility and spirituality, of a playful world at ease – the spiritual state so highly sought after by the hermit literati of yore.

8幅扇面作品是吳士偉小品花卉技巧完美之作。在藝術家手中，花往往有強烈的象徵性，那是一種人格化的昇華，表現的範疇已從「自然」跨越到「人生」了。一種花木，能夠進入藝術境界，成為欣賞和審美的對象，成了人格道德和理想的物化，打通了詩、藝術、哲學的界限，花成為人格化身。

The eight painted fans are the culmination of Wu's meticulous miniature technique. As is often the case, flowers often become an integral part of an artist's aesthetic vocabulary, articulating a deeply personal vision while retaining their universal appeal. They transcend the artificial divide between the natural and the individual. Flowers, upon planting their roots in art, become subjects of admiration, advocates of an aesthetic vision. They traverse the boundaries separating poetry, art, and philosophy. They are the physical manifestations of the artist's ethos and pathos – they are the artist incarnate.

年過60，對吳士偉而言，「60而耳順」是一種生活經驗的轉換，內在感知空間的昇華，一種靜態的「定」。讓吳士偉的畫作轉向更樸質純粹，猶如望著紫藤廬園外的一草一木幽曲小徑，與小魚流水聲聲慢的情境相呼應，也和紫藤廬室內暗飄茶香，伴隨深厚的文化內涵精神，兩者相得益彰，一切都是如此「自然」。

At over sixty years of age, Wu has experienced an awakening, and turning point, in his life. His intuition feels more astute, more honed by a sense of inner calm. This sense of tranquility has influenced his work, which favour quiet evocations of simplicity, similar to the small stone pathway in Wistaria's garden. Here, the gentle susurration of the grass and leaves, in concert with the soft splashes of the water and fish, serenade the teas' exquisite aromas and the kettles' joyful bubbling. Nature and culture, together in harmony.

誠如吳士偉所言：「人世輪轉，花開又花謝，詩人、畫家吟詠花的盛放，花的飄落，其實就是在吟詠生命。花無百日好，何人能保持枝頭的花兒，永不凋零，問題的關鍵不在于花，而在于看花之心。有了從容之心，就會花開花落兩由之，有了這樣的心，外在的花隨風飄零，心靈的花則永不凋謝。」

This appreciation of nature is encapsulated by this delightful statement by Wu Shih-Wei:

Artists and poets often employ a floral vocabulary to evoke the passage of time, of flowers' blooming and wilting. This imagery of life and death, however, is also one of individual spirituality and integrity. The flower is evanescent in its natural beauty, unadulterated by artifice. It tolerates and accepts its natural state and does not seek to mask it; it embraces all stages of its natural life, be it in bloom or in decline. A flower focused on material beauty will be blown away and wither; a flower focused on the immaterial will endure and never wilt.

與其說是賞畫，不如說是進入了吳士偉營造的園林山水中，進行一場《不在繁華色相中》視覺的詩性漫遊，賞心悅目，於紫藤廬。

Come, and enjoy Sight Beyond Sight at Wistaria, among the harmonious poetry of Wu's elegant flora.

從9月30日至10月12日，五位臺灣藝術家將聯手在紫藤廬展出各位的近期作品。這場【藝術接力】會有張振宇，蔡根，郭娟秋以及陸先銘老師參與展覽。不同風格的作品在紫藤廬的文藝空間將會產生什麽樣的相互對話？

清晨的山林山脈，沉靜的深綠色
陽光升起，山色轉為翠綠
落日後的山脈，是深黑的
有霧的清晨，山脈披著白紗，是淡淡的綠
下雪後的山脈，那寧靜的潔白，截然不同

只有愛山的人，才能感知山林山脈中，蘊藏著多麼多的⋯⋯⋯
感受得到山的多種表情和內在，呈現出各種不同的樣貌和色調

人類在山林山脈中，取得資源，並獲得精神上的慰藉，山林山脈對我們而言，是母親，也是原鄉

多彩鮮艷多變的山林山脈，是藝術家殷切追尋的夢想家鄉
也提醒我們，應好好珍惜孕育我們的母親一山脈

李銘盛


Mountains at dawn, tranquil in their deep green hues
At sunrise, they turn emerald green
After sunset, the mountains are black
Foggy mornings, the mountains wear delicate green veils
After snowfall, the mountains are calm and white, markedly different

Only those who truly love mountains can feel their pulse, and the plenitude they contain…
Sense the mountains’ myriad emotions and qualities, appreciate their diverse hues and appearances

Humans gather resources from mountains, as well as spiritual consolation – mountains are our mothers and our homes

The mountains’ kaleidoscopic manifestations enrich the artist’s imagination of home
They remind us to cherish our mothers – our mountains.

Lee Ming-sheng
Translation: Lo-Ching Chow

《歲月。時光》是知名藝術家李銘盛將於紫藤廬展出的藝術計劃，記錄了106位當代「工作中」的藝術家群像，歷時4年，透過行為轉入檔案，將一張張照片編輯成一部「微縮影片」。藝術家的日常透過投影機，以光來串連，連成一個「時光」，它不再只是攝影當下片段的擷取，轉身為一個時代大敘事背後的縮影，藉由這些圖譜，窺探出此時的創作形式和材料，當下臺灣的藝術面貌、理念、想法和精神，重建構出屬於我們的在地藝術史。
如同套上一個邊界，圈成了一個瞳孔，一個主觀的藝術家之眼，它描述一個時代區間的藝術面向，正在發生，也同時在前進之中。「光」在這裡，結合時間反推回生命，展現瞬間的真實存在，穿透浮生。
此次展出結合了實體版《藝術接力》，邀請多位知名藝術家參與展出。第二檔李銘盛70個展《山脈-我們的母親》，讓李銘盛的藝術家之眼，當代藝術家之眼與觀眾之眼，互為觀看對話。
一個以李銘盛自身做為邊界，所發展的當代藝術面貌，將在紫藤廬的空間裡「光合一」。

「背向的風景」是社運老將、繪畫素人王智章的第一次油畫個展。王智章別號「麻子」，1986年發起「綠色小組」，在解嚴前後扛著攝影機，紀錄下包括「鹿港反杜邦」、「五二○農運」、「桃園機場事件」等政治、環保、勞工、婦女、學生、原住民運動，為台灣民主化進程留下珍貴的歷史影像。

背向的風景，是曾經在街頭，背對國家機器棍棒伺候的膽識。在抗爭者與對立面的鎮暴警察之間，王智章背對身後一字排開的警棍與盾牌，如實紀錄被污辱與被損害的人。

九○年代王智章自街頭退隱，回到東海岸「後山」，背向的風景，也是背對熱鬧街頭、激昂年代，面朝山脈、稻田與大海重新長養出的情懷。在東海岸開墾十多年後，王智章重新拿起年少時擱下的畫筆，背著畫架到處寫生。沿著台11線的海濱村落：石梯坪、港口、靜浦、樟原、真柄、膽曼、大俱來；或緣溪而上，來到更為荒僻的深山野村；或翻山去到縱谷，中央山脈下長良的那一大片稻浪，從新綠到結穗，天光雲影下，每一季的美總不重複。

花蓮、台北的兩地向背，扛上攝影機或者拿起畫筆，對於王智章的生命歷程，彷彿一陰一陽互補，激越與寧靜並存。