内容提要
從具象到抽象 創造精神意象
輀春生
十六歲之前，少年蘇音在恩師陳穆之先生門下，學習中國文人大寫意花鳥畫，逾十年之久。終日與水墨相伴，對中國畫筆、墨方法，即“平、圓、留、重、變“與”濃、淡、破、漬、潑、焦、宿”的基本掌握；對繪畫構圖章法、色彩變化的深刻理解；對整體畫面水墨意境的藝術表現；對中國書法、篆刻所包含的奧妙學問；都有過嚴格正規的系統訓練。看得出，這是一個具有天賦的少年，刻苦勤奮學習繪畫的過程，而所得結果，已呈現在本次展覽中。
二○○四年，周蘇音進入紐約哥倫比亞大學繼續坴的藝術深造。在一個崇尚自由創造的藝術氛圍裡，坴衡守中國水墨畫創作，以東方哲學精神與西方文化相融合的視角，試圖將水墨創作推廣闊無垠的境界。在中國哲學中，“水”藴含著“廣闊、平衡、寧靜、流動、勇敢、應變力、隨意性”等思想，水幾乎是無所不能的。水有無限可能性；當水與墨結合所產生的抽象偶然性；當水墨與中國特有的宣紙暗合成為藝事，在混沌中，墨色微妙，幻化無窮，輕重緩急、流動起伏……它那明顯與 兜s同的東方韻味和固有特質，自然一覽無余。中國水墨畫是東方美學思想追求意境的最佳詮釋；水墨氤氳的抽象性，能最佳反映中國的老莊哲學思想。水墨乃是東方美學思想在繪畫藝術裡，從具象到抽象、從抽象到意象、從意象到哲學精神的無限過程。本次展覽的水墨抽象，它來自具象、化之抽象、直訴精神意象。看得出，此一過程，似在水墨的無聲中，然水墨無聲似有聲，水墨無聲勝有聲，恰似天籟之音……
From the representational to the abstract
Into a world of spiritual imagery
Before Zhou Su Yin turned sixteen, she had already had more than ten years of training under master Chen Mo Zhi, using traditional Chinese freehand brushwork in flower-and-bird painting. During those years, Su Yin’s constant companions were ink and water. She learnt the basic techniques of brush strokes: ‘even, rich, dense, solid, and pliable’. She also learnt the various ways to apply ink: ‘thick, thin, mixed, layered, sprinkled, dried, and aged’. She was given a rigorous and proper training in composition and color variation, in the creation of overall artistic effects, and in the profound philosophy behind Chinese calligraphy and seal cutting. Her talent was evident at a very early age. The present exhibition is a testimony to her years of hard work and devotion to the art of painting.
In 2004, Zhou Su Yin entered the Columbia University in New York. In an environment which champions total artistic freedom, Su Yin has opted to continue with her Chinese ink and wash painting. Embracing both the spirit of eastern philosophy and western culture, she endeavors to elevate Chinese ink and wash painting to ever-widening horizons. ‘Water’, according to Chinese philosophy, embodies the notions of ‘vastness, equilibrium, tranquility, fluidity, audacity, flexibility and informality’. In short, all is possible with water. When combined with ink, it creates random abstractions; when combined with ink on China’s particular Xuan paper , a piece of art is born: from apparent chaos, water and ink mysteriously morph into endless formations, varying in touch and pace, rising and falling by turns…giving full play to the taste and characteristics unique to the East. Chinese ink and wash painting can best convey the kind of mood sought by eastern aesthetics. Its mystic abstractions are a reflection of Lao-Zhuang’s philosophy. True to eastern aesthetics, the art of ink and wash painting is an unending process from the representational to the abstract, from the abstract to imagery, and from imagery to the philosophical. The abstract ink and wash painting at the present exhibition originates from the representational, transforms into the abstract and moves on to the spiritual. One can follow this process in the silence of ink and water, silent yet with its own voice, a voice of silence, like the sounds of nature…
Chunsheng Wu
|
