總覽 館所公告 藝文展覽 研習講座 茶文化
【不在繁華色相中】─ 吳士偉水墨個展 10/24-12/13
《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.
【藝術接力】9/30 - 10/12
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?
【山脈 - 我們的母親】─李銘盛70個展 8/29-9/27
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
關鍵字

【歲月。時光】— 李銘盛 當代藝術家肖像計劃 8/1-8/23
《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】─麻子/王智章 油畫個展 3/28-5/3




「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。

【鎚目照神】 ─ 玉川堂手作金工展 2/8-3/22

開春紫藤廬特邀日本新瀉無形文化財「玉川堂」來台展覽,傳承了七代,有兩百年歷史的玉川堂,沿襲了日本職人的極致匠藝,以鎚起銅器聞名全球。「鎚起」是將平面銅板敲打成立體銅器的過程,銅器的製作從銅片裁剪、退火、敲打、雕金到著色,需經歷十九道工序,製作所需的工具多達上百種,這些工具同樣出自匠人之手,也是玉川堂工匠們代代相傳的歷史,從製作到成品,無一不是對傳承技藝的慎重與敬愛。

玉川堂這些匠師鏗鏘的跫音已於紫藤廬古蹟裡響起,兩地文化財的第一次攜手合作,向古老的優美傳統謙卑致敬,也期待兩地傳統工藝的深入交流。
 

READ MORE

【遊歡。山水誌】─ 吳熙吉&葉怡利雙個展 1/9-2/2

春遊於紫藤廬,一場當代視域的山水園林,透過二位藝術家記憶堆疊與景物的再詮釋,再現一個新的線條與物件的共存。
 

READ MORE

【象外‧無垠 — 吳晟誌陶藝創作展】

傳承臺灣陶譜脈絡的陶藝家吳晟誌,傳承了陶藝家父親吳政憲的手作精神,企圖書寫屬於「陶藝家吳晟誌」的創作歷史。此次展出黃金鐵陶系列,形似日本江戶時期的鑄鐵燒水壺,卻有陶器原有的溫潤手感。他傳遞了一份對土地和傳承的濃厚情感,在紫藤廬這樣同俱歷史文化傳承的空間裡,一同攜手走向無垠。

read more

【意於言裱】五位藝師的思考裝池
展覽時間:10月12日-11月17日
 
開幕:2019年10月13日(日) 14:00-18:00
開幕座談會《五位裝裱修復師叩問傳統美學流變》
2019年10月13日,15:00-17:00,紫藤廬花廳
 
裝裱修復師岑德麟、徐健國、李秀香、史若雲(Camille SCHMITT)、吳挺瑋五人聯展,首度同台呈現跨世代傳承,為當代書畫家展現裝池新風貌。

READ MORE

【打開羅摩衍那的身體史詩】皮歇·克朗淳 X 陳武康

展期:2019年6月1日(六)—6月30日(日)

在飛速的時代下,我們漫步歷史的痕跡
架起臂膀 ,步伐震耳
「傳統」要告訴我們什麼?
 
《打開羅摩衍那的身體史詩》為驫舞劇場藝術總監陳武康及泰國當代舞蹈大師皮歇・克朗淳跨文化、跨傳統的合作計畫,從東南亞家喻戶曉的印度史詩《羅摩衍那》(Ramayana),作為一趟三年探問旅程的開端。我們走進世界遺跡與傳統大師貼身學習。這段旅程體認到每一個人所站著的土地上,那些歷史、傳統、現今即是非凡的重量,歷史沒有停止在過去,未來無限前行。2017年他們走在千年的古蹟與巷弄中,2018年與東南亞四國的傳統舞蹈大師貼身學習,一步步地去了解、一層層的去揭開,以經歷之後親身的轉譯,在當代說著關於傳統的形變。

63094【打開羅摩衍那的身體史詩】皮歇·克朗淳 X 陳武康2019-05-23紫藤商城紫藤廬 > 首頁 > 最新消息News藝文展覽
44::