But the stability of the image is offset by the slightly tilted camera angle: everything, the benches, the water in the puddles, the trees and the little hut…are going to slide towards the left of the image, out of the frame, until nothing is left. In the foreground there is a big puddle, it has a strong presence, taking up half of the picture frame. In the puddle is the reflection of a tree, more lucid than reality. We don’t see the tree itself, only the reflection, in fact not even the entire reflection: the tree is half eaten up by the dry bits of the ground. Soon the puddle will dry up; the tree will die before autumn comes. Further down the footpath, a person is carrying a ship across the footpath. It is almost surreal, a ship with legs, a ship walking on the ground. But still that man behind the camera wants to board that ship, wait a minute, he shouts, take me with you, take me home. But that ship, with its pretty white sails, it has no ears. The shouts leap off the lips into thin air, disperse into particles, die. The man is unable to cross that puddle, as vast as the ocean that separates him from his homeland. He watches as the ship walks away. That tree, the dying reflection of a tree, is his only consolation.

Andre Kertesz, Homing Ship (1967)

This is a late work of Kertesz, and it is one of my favourite images in the exhibition Eyewitness: Hungarian Photography in the 20th Century. Perhaps it provides the key to the unresolved mystery: just why did so many great Hungarian photographers made their brilliant appearance on the international stage in the early part of the last century? Some of them started as amateurs, but they all achieved technical excellence and also became immensely influencial in almost all the genres that you can think of: from war photography and photojournalism (most notably Robert Capa) to abstract and fashion photography. Henri Cartier-Bresson cites Munkasci’s Three Boys at Lake Tanganyika as his sole influence, Kertesz is often hailed as the father of photojournalism, and Capa’s war photographs count among the most iconic images of the events that they document. This extraordinary phenomenon is substantiated by Robert Capa’s remark: ‘To be a good photographer it is not enough to have skills. You also have to be Hungarian.’ Clearly there is something about being Hungarian that makes a difference.

The generation of Hungarians born before World War I, including most of the photographers featured in this show, were witnesses to a particularly turbulent period of their country’s history. On top of the traumatic wartime experience shared by many other countries, Hungary also suffered from the humiliation of losing 72% of its territory and 66% of its population after WWI. Not only did this mean that a large portion of its population became displaced overnight, this peace settlement also dealt a great blow to the country’s industries and deprived Hungary of its only seaport. This crippled the country’s economy. After the war, a coup in 1919 resulted in a short-lived Communist regime, which started the ‘Red Terror’ immediately. The Communists were driven away only five months later, only to be replaced by Rightists who now set out to revenge by starting the White Terror, marking the country’s steering towards anti-Semitism.

It was during this period that the five major photographers (Kertesz, Moholy-Nagy, Munkasci, Brassai, Capa) featured in this exhibition, who were all Jewish, chose to leave their home country. But Hungary’s misfortune did not end in the 1920s, it was devastated by WWII and was occupied by the Soviet Union at the end of the war. Soon it became a satellite state of the Soviet Union, and began a violent purge of opponents with instruments such as secret police and labour camps. Dissatisfaction of Communist rule culminated in the 1956 Revolution, which ended with the violent Soviet suppression in the same year and the reinforcement of Soviet rule. The first two and last two parts of the exhibition are swamped with records of Hungary’s painful history, mostly by photographers who chose to stay in the country.

Rudolf Balogh, Stud (1930) – Balogh was an advocate of a kind of photography that communicate the Hungarian national character, and led to the flourishing of the ‘Magyar style’, which is characterised by a romantic return to the pastoral roots of Hungary.

Erno Vadas, Harvest (1937) – This image seems to be a new take of Millet’s famous painting (The Gleaners, 1857). In the age of machinery, eighty years after the latter was painted, Vadas transformed the peasants into heroic figures through his lens. The image, with a yin-yang composition, is perfectly balanced, but is also bursting with energy. It is perhaps an allegory of the relationship between peasants and nature.

Erno Vadas, Procession (1937) – Another record of Hungary’s cultural tradition, coupled with an unusual viewpoint and compositional balance.

Laszlo Fejes, Wedding (1965) – This photograph won the World Press Photo Award, but also resulted in the ban of the photographer from publishing in Hungary because it shows the facade of a damaged building, an evidence of the 1956 anti-Communist uprising.

Turning their back on their home country to avoid imminent danger, the photographers made the decision to move abroad. But speaking Hungarian as their native language must have accentuated their sense of isolation in a foreign country, for unlike most European tongues, Hungarian is a Uralic language rather than an Indo-European one. It must have been particularly hard for Hungarians to pick up a new language, be it French, German or English. In fact, none of the five photographers mastered the language of his adopted country. In the case of Robert Capa, he only became a photographer because it was the closest thing to journalism ‘for anyone who found himself without a language.’ I think only someone who has lived in a linguistically foreign country could possibly understand the pain of living ‘without a language’ and the anxiety to integrate into a new society. Perhaps this explains my instant connection with the sense of intense isolation, insecurity and despair expressed in Kertesz’s image described above.

Brassai, Picasso – Brassai is best known for his photographic book ‘Paris de nuit’, which consists of many images of the city which had become iconic with time. When he first arrived in Paris he tried to work as a journalist and only took photographs to supplement his articles. He made many artist friends in Paris, including Picasso, Dali and Matisse, and this is one of the many photographs and he took of them.

Robert Capa, Woman, Who Had a Child with a German Soldier, Being Marched Through the Street (1944) – Unlike the combat photographs for which Capa is best known, this image shows the hidden atrocities of the war. The subject is the plight of the woman at the centre of the image, who is being publicly humiliated and marched towards an unknown fate for ‘having a child with a German soldier’. It makes clear Capa’s humanistic concerns and questions the categories of perpetrators and victims in the most poignant way.

Martin Munkasci, Lucile Brakow, Harper’s Bazaar (1933) – The first image that Munkasci shot for Harper’s Bazaar after he moved to America. He brought his interest in speed and movement to fashion photography, instilling energy and liveliness into the genre.

Martin Munkasci, Boys Running into the Surf at Lake Tanganyika (1933) – Henri Cartier-Bresson on this image: ‘I suddenly understood that photography can fix eternity in a moment. It is the only photo that influenced me. There is such intensity in this image, such spontaneity, such joie de vivre, such miraculousness, that even today it still bowls me over.’

Looking at the images, one is bound to realise that there is very little that link the work of these photographers. Each had developed his own very distinctive style in his chosen genre. It is only their sensitivity to the medium and creativity fed by their hopeless solitude (to borrow the words of Arthur Koestler) that betray their common origin.

Eyewitness: Hungarian Photography in the 20th Century was on show at Royal Academy of Art, Sackler Wing of Galleries until 2 October’, 2011

這是今年看的第一個展覽，趕巧冬季度的展覽都差不多完了，而我又大部分都未看，所以這兩星期還陸續有來（只好怪自己太last minute…）。

說起當代攝影藝術，Jeff Wall可說是其中一位殿堂級大師，也是加拿大最傑出的藝術家之一。在他開始認真投入攝影藝術前，他曾師從英國著名的藝術史學者T. J. Clark，應該是少數學藝術史出身的藝術家。他對藝術史的熟悉意味着他可以隨時借用前人作品中的元素，他參考的藝術家計有Manet、Delacroix、葛飾北齋、Goya、Caravaggio、Cezanne等。另一些作品的靈感則來自文學作品，如卡夫卡和三島由紀夫的小說。

如果是為quote而quote，那就只是毫無意義的「拋書包」而已，任何一個對藝術史稍有認識的人都做得到。Jeff Wall吸收並使用前人的技法（主要是在構圖方面），是因為他想要表達的東西和那些名畫家有相通的地方。比如他談論 The Destroyed Room 時，不諱言靈感來自Delacroix的Death of Sardanapalus。兩者都以睡床為中心，Delacroix的作品表現的是一種無保留無掩飾的極致暴力，而Jeff Wall的照片中只有死物，無刀光劍影，亦不見施暴者的蹤跡，是一種比較深沉的亂暴。如果說前者所表現的是戰爭終結前最後的暴力儀式，後者則隱喻當代社會荒謬、隱祕、不可解的暴力：西方本土不再有戰爭，而暴力還在繼續。另一方面，這也是Jeff Wall對於當代的商品和櫥窗文化施加的一種象徵性的暴力。

Eugene Delacroix, Death of Sardanapalus (1827)

Jeff Wall, Destroyed Room (1978)

這次的展覽，只是展出了他近幾年的作品，所以也沒有經典作品如 Milk 和 Dead Troops Talk，不過還是很精彩。地下一層只有三幅作品，全是他2007年在西西里島拍的風景，都屬於較大型的作品。其中一幅山坡的彩照看得出塞尚的影響，不過還是沒甚麼感覺。

精華都在地庫。Jeff Wall 的創作大多是重現他在日常生活中曾見過的事物，有點像小說 The Remainder 的主角，後者為了填補一段空白的記憶而不斷用巨額賠償金重現與重演一些片段。Jeff Wall 曾把自己的作品分成兩類，一類是明顯看得出是精心布置的畫面，另一類是看上去似是無心插柳，也就是比較類似snapshot 的照片。這一層雖然也只展出七件作品，但兩種類型都有，而且作品尺寸從電腦屏幕大小到2×4米，採用的技術包括銀鹽、噴墨打印和激光打印，大與小、新與舊都包含在內，不知是否有意的安排。

Boy Falls From Tree 和 Boxing 應是第一類作品的最佳例子。兩者都以中產家居為背景，畫面呈現的是舒適、整齊、有序的中產世界，看得出每一件看似尋常的用具和擺設都是經精心安排的布置。在Boy Falls From Tree中，構圖被從樹上掉下來的男孩打破了，取而代之的是在安穩與危險之間的一種強大張力，看似溫馨別緻的家園說不定危機四伏，而中產世界的平靜也隨時可以被打破。

Boxing看起來簡直像是一聲嘲諷，背景的架子上整齊地排列了多種瓷器和雕塑模型，近前方的矮几上還放着蘭花，那種中產的體面和揮拳的動作格格不入得近乎惹笑。而正在閃避的一個男生後方掛着一幅看似名貴的油畫，仿佛暗示這兩個男孩的偽暴力隨時會破壞這個文化、品味、地位與權力的象徵。

Jeff Wall 賦予自己的角色不同於傳統的藝術家或攝影師，倒是近像一個電影導演。他設計好每幅作品，然後指揮一隊演員、燈光師、道具人員、助理、技術員等慢慢組成畫面，而他的作品就像只有一個鏡頭、一個定格的電影，其餘的情節皆在觀眾腦內上演。

Young Man Wet With Rain 可歸為第二類。沒有太多細節，只是一個被雨淋濕的年輕男人肖像，簡單直接的構圖，但還是充滿力量 ﹣或許是作品的尺寸（2.8米高，照片中人物比真人大），或許是他的風衣上好像快要滴出畫面外的雨露太過逼真，站在這幅照片前感覺有點畏於直視男人的臉。

Band & Crowd 是這次展覽中最大型的作品，也是我最喜愛的一幀。寬四米多，那種青春的澎湃活力幾乎使我相信這是Jeff Wall剛巧看到的一場表演，原來還是他布置的，人也是他聘的，不過他給的指示是自由發揮，做回平日的自己 ﹣不過我想各人大約的位置還是有研究的吧。近看這幀照片很有趣，因為可以看出一種從左至右聲音和能量的流動：台上的樂隊激情地表演，最接近舞台的觀眾也很忘我地跳舞，稍遠的靜止但專注地傾聽着，而離舞台／畫面前方最遠的人幾乎對這場表演毫無知覺。這種橫向推進的手法暗示同一畫面中時間流動，可上溯至中國卷軸畫（最有名如清明上河圖）和中世紀至文藝復興時期的宗教繪畫。此作表達的粗獷原始感和在展廳另一端的Young Man Wet With Rain遙相呼應，一動一靜，把其餘的作品夾在中間，似是對老一輩所構築安穩卻平庸的世界的一種挑釁。

Boy Falls From Tree

Boxing

Young Man Wet With Rain

Band and Crowd

最後附上我在網絡上看到的一幀作品。美感與幽默感俱備呢，靈感來自葛飾北齋。

Sudden Gust of Wind

Katsushika Hokusai, Yejiri Station, Province of Suruga

記寫雁蕩山花　潘天壽 1962年.

潘天壽是我非常尊敬推崇的藝術大師之一。 近日，香港藝術館曾三次邀請我參觀“墨韻國風——潘天壽藝術回顧展” 、“潘天壽藝術專題講座”和“回顧展導賞活動”，均因年末忙於工作未能參加，但我通過“香港藝術館通訊”電子雜誌和網絡隨時關注此次大展和相關信息。今天週末，抽空寫了這篇短文，以表達我對潘天壽大師的尊敬。

從2011年11月25日到2012年2月5日，“墨韻國風——潘天壽藝術回顧展” 在香港藝術館展出，讓市民大眾能一睹大師的藝術風釆。是次展覽亦是香港藝術館50周年館慶的首個亮點節目。

香港藝術館在畫展介紹中稱：“潘天壽是現代中國畫史上舉足輕重的人物，與黃賓虹、齊白石同被譽為傳統派四大家。潘天壽的書畫是自學成家的，他繼承傳統個性派和金石派，融花鳥、山水於一體，用筆生辣、構圖大氣磅礡，展現奮發圖強的時代精神，賦予作品強烈的現代格調。他對中國藝術傳統的提升，影響深遠”。

潘天壽（1897—1971），中國現代美術家、藝術史家、藝術理論家、美術教育家。擅長中國畫、書法、篆刻、詩文、美術史論。潘天壽原名天授，字大頤，號壽者，雷婆頭峰壽者等。浙江甯海縣人，平生從事為繼承和發展我國傳統繪畫藝術，從事藝術創作和藝術教育工作。解放後當選全國人民代表大會代表，曾任浙江美術學院院長、教授、中國美術家協會副主席、浙江省文聯副主席、中國美協浙江分會主席、中國文聯委員等職。1958年受聘為蘇聯藝術科學院名譽院士。他精於山水和寫意花鳥，書法、詩詞、篆刻等都有很高的造詣。尤善山石、野花、畫鷹、八哥、松樹、梅竹、蔬果、等題材。他的著作有《中國繪畫史》、《中國書法史》、《雷婆頭峰團瓢 畫談隨筆》，、《聽天閣詩叢》、《治印叢談》、以及其繪畫作品《潘天壽畫集》、《潘天壽美術文集》等著作。

潘天壽書、畫、印、詩俱佳，尤以繪畫盛名，他的繪畫，承南宋馬遠，明代戴進、沈周、朱耷、吳昌碩，在繼承前人的沉著老練、奇倔冷逸、豪勁奔放後，又呈現了自已的沉雄奇崛、蒼古高華的藝術風格。

潘天壽主張“以書入畫” ，以書法的筆線為基礎，在傳統基礎上變革、發展。同時，他在作畫時大多以隸書與魏碑運筆，而不以草書與篆書運筆，表現特徵是：“多方折” 、“大起大落” ，其骨氣、骨力融於畫中。在他的印章中，他常用的閒章“強其骨”， 以骨氣、骨力取勝成為他的審美追求。不僅書、畫，還包括用筆，構圖、都追求雄強、豪壯、氣勢和剛陽的力之美。其用筆蒼勁、挺拔、古拙、生辣。彰顯了骨氣、骨力， 氣勢、剛陽之美。

他畫畫動筆前，都要深思熟慮，精心推敲，一絲不苟，意在筆先，因而下筆大膽潑辣，筆墨色彩縱橫交錯，氣勢磅礴，趣韻橫生。

他的作品在畫面的構圖上很重視黑白、疏密、虛實、主賓關係，呈現出清新蒼秀而又骨力勁道的獨特風格。

還值得提及的是潘天壽的指畫，達到了清代高其佩及其之後的歷史新高度。被繪畫界一致公認為潘天壽的指畫遠超高其佩，尚無人能夠企及，堪稱高山仰止。二十世紀現代畫壇四大家之一、清晚期海派大師吳昌碩在潘天壽27歲時有詩讚譽：“天驚地怪見落筆，巷語街談總入詩”。潘天壽中晚年以後有時還時常將毛筆放在一邊，手指蘸水蘸墨，直接在宣紙上揮灑點劃，留下不少佳品。他的指墨畫，亦反映了他筆墨的內涵、力度，他獨到精謹佈局，極富節奏的匠心。

潘天壽作為藝術史家、藝術理論家和藝術教育家，他的一個重要的理論就是“中西藝術應該拉開距離”。 他主張無論是中國畫引進西方畫的技法和技巧，或者是西畫引進中國畫的技法或技巧，目的都是為了增加各自的高度，也就是說中國畫引進西方的觀點和技巧是為了增加中國畫的高度，而不是削弱這個高度，不是去消解中國畫的藝術語言。潘天壽在他的畫論中說：“一民族有一民族之文藝，有一民族之特點，因文藝是由各民族之性情智慧，結合時地之生活而創成者，非來自偶然也”。 他還說：“繪畫藝術具有民族性，其本身就蘊涵著深厚的民族文化底蘊，離開了本民族的文化，繪畫就失去了藝術的靈魂與藝術價值。中國畫若離開了中國傳統文化，也就失去了中國畫存在的意義”。 由此，我認為潘天壽受到中國傳統文化的全面薰陶，是一位傳統個性派大師，他是一位光耀史冊的大師。

（王曉波 2011-12-16 深夜 於深圳 前海南山）

光耀傳統的個性派大師潘天壽節錄陸游詩行書軸 書法 潘天壽

光耀傳統的個性派大師潘天壽梅兰夜色图轴 指墨 1962年指畫

“Mary & Chris”

Apart from the attractiveness of his “jelly-based” ink installation during the “New Trend 2009” (出爐2009) Exhibition in Artist Commune, there’re tremendous potentials for Alan Ng Ka-lun (伍家麟)’s comics and illustrations to be acknowledged by the local art circuit as one of the influential assets that represent the meritorious features of Sino-Japanese aesthetic coexistence. Alan Ng absorbs pragmatic and reformative experiences from his illustration-art instructor called Mr. Justin Wong Chiu-tat (黃照達先生), a graduate from Department of Fine Arts at The Chinese University of Hong Kong who devotes to iconographical representations based on the trend of New Interactive Media. Then, Alan develops his unique plastic language by comprehending the noumenon of romance and mutual dependence.

Very easily, the youngsters experience a very straightforward kind of contentment from Alan Ng’s art pieces, which reflect a sophisticated level of plastic emphasis and correspond with the innocent qualities being unveiled in a reminiscing culture called “Those Bygone Years”. The couple that Alan described in his piece, called “Mary & Chris”, reflects the most updated appearance of the innocent adolescents nowadays. He has composed his own comic story that genuinely reflects his growing experiences, cultural background and individual observations upon the “flirting” phenomena in this world of humanity. It is a natural reaction in human conditions for his another art piece, called “An Immense Touch From My First Love Experience”, to comprise sexual implications despite of some audiences’ alertness on Alan’s unnoticed intention in describing the boy character with a “slightly erected” status; as Sigmund Freud theoretically regards this feature as a wholesome source of “catalysts” for an artist to rediscover the honest illusions from his/her hidden imaginative realm. Moreover, the lofty but relaxing colour tone corresponds with his adoration to the feministic temperaments, which helps raise a sense of ideological consonance among the young girls who are experiencing confusions on “lusts” in their puberty ages.

Alan showcased his ingenious ability in enriching his “perceptual experiences” (感知經驗) with a broad range of secular, frictional, digital and propagandistic contexts. He then integrated all these experiences, and transformed them into self-expressive characters with “intuition-driven” iconographies. The narrative scene of this couple originates from his fascination in Japanese animation culture, together with his consciousness on an Oriental mode of delineative precisions and moderating chrominance. Alan pays a great tribute to the “re-composing job” of his perceptual experiences, and he understands that the notion of “narrative” expression is a guiding code for him to accomplish such “superego” motive. Alan’s comics genuinely represent the cored values of 80s-born youngsters towards the ultimate ideal of unreserved love despite of insane and absurdities in the pragmatic social circumstances.

“Perceptual experience” should always be the prior emphasis, and “optical abundance” or “conceptual muddles” would be the secondary emphasis. Such sequence can never be reversed if an artist is aspired to create an approachable brand of art in the Oriental Civilization. An over-judgment on “optical abundance” or “conceptual muddles” will lead to a phenomenon that, an art piece would permanently suspend within the level of “imagery luxury”. Sooner later, the art piece will proceed to an extremely “materialistic-oriented” realm of “Nihilism”, which is much similar to the psychology of Matrix in terms of re-defining the emotional and fleshed substances with a pluralistic bunch of “functional-based” utilitarian norms. If you re-appreciated such “nihilistic” art piece after a long period of time, you could never re-pick a sustainable and nourishing sort of “aesthetic pleasures” from the corresponding visual contexts. Fortunately and gratefully, Alan Ng endeavors to preserve the “meditative” kind of intrinsic essences in his recomposed “perceptual experiences” by reserving the facial expressions of the two characters with enigmatic but sincere eyesight. So that, the ultimate values of Alan’s pieces in reflecting the patience and tolerance for the sake of eternal love can be noted and inherited within the fine art circuit for a more universal level of empathetic appreciation.

To the curatorial perceptions in this contemporary art world, Alan Ng Ka-lun accomplishes the entrepreneurial spirits practiced by the retreated samurai during the epoch of Meiji Restoration. Alan Ng imitates such Samurai culture by absorbing the reformative, playful, leisurely and liberal elements from the human ideologies in marine regions. At the same time, Alan tries to consolidate the fruits of his Sino-Japanese crossovers by persisting with a very refined level of interpretation for the ethical code related to the maintenance of ideal love relations.

“An Immense Touch From My First Love Experience”

“Never Forcing For A Birth Of Babies”

Author: Vincent LEE Kwun-leung (李冠良)

(Declaration of Interests: I am the Art Officer of the Art Of Nature International Company Limited. Alan Ng Ka-lun was my university classmate at HKBU Academy of Visual Arts between 2007 and 2009, and I wrote this art review based on my admiration to Alan’s artistic enthusiasm)

Alberto Giacometti Dog 1957 45.7*99*15.5 cm Bronze

瘦骨嶙峋的狗，應該是一隻流浪狗，多數時候沒辦法吃飽，尾巴和頭都下垂，在雨中被淋成落湯雞般，拖曳著蹣跚的腳步，艱辛地前進。Giacometti自己描述這件雕塑：「在一個雨天，我走在Vanves街上，靠著建築物的牆邊走，也許覺得有點傷感，當時我覺得我就像一隻狗。所以我做了狗雕塑，那傷心的口鼻部有點像Saluki犬。」

既然Giacometti自己提到了口鼻部的靈感來源，筆者特地google來了Saluki這種犬種的照片 (如下圖)，確實跟雕塑有幾分相像啊。

下圖，Giacometti著名的照片，由Giacometti的友人，現代新聞攝影之父Henri Cartier Bresson所攝，雨中行走的Giacometti。Giacometti走路的樣子，艱難又脆弱，是不是有點像他的作品「行走的人」呢？

Photo of Alberto Giacometti by Henri Cartier Bresson

原文刊於”他方的他方”

In the 21st century, the fine-art circuit in Hong Kong is noted by the prior importance of solidifying a unique language for its local painting culture.

Both the Hong Kong Museum of Art and the academia recognize a fact that, the Modern Chinese-Ink Painting demonstrates the global art scene with the most “original” perspective of Hong Kong creativity. Thus, it can be regarded as the most “legitimate” form of Hong Kong art under a basis of Sino-Western cultural interactions. The Modern Chinese-ink Painting emerged while Lu Shoukun (呂壽琨) was initiating a “New Chinese-Ink Movement” (新水墨畫運動) during his capacity as a Chinese-painting instructor in the Extramural Department of The Chinese University of Hong Kong. Lu Shoukun fostered a group of apprentices who showcased courage in transcending the limitations of traditional literati paintings. Since the 1960s, Lu’s apprentices, namely Ng Yiu-chung (吳耀忠), Wucius Wong (王無邪), Leung Kui-ting (梁巨廷), Kan Tai-keung (靳埭強) and so forth, united as progressive intellectuals to re-interpret the methodologies of Chinese-ink infiltration with reference to the geometrical and symmetrical emphasis of graphic-design theories.

At that time, Liu Guosong (劉國松), as a Taiwanese art master, came to Hong Kong and corresponded with Lu Shoukun’s mission to promote Modernism with Chinese-ink aesthetics. Chan Shing-kau (陳成球) is one of Liu Guosong’s devoted apprentices, who is much affected by Liu’s favor in adopting “paper-tearing” (撕紙) and “water-rubbing” (水拓) techniques as a way to recompose the fragmented illusions of natural landscapes. Chan Shing-kau realized that, the Taiwan art culture accommodated various sorts of liberal-minded art styles from Southeast Asia and the West, whereas the so-called “right-wing” cultural and ideological elements could be applied to enrich the system of Hong Kong Ink Paintings with vivid expressionistic contexts. Bearing in mind with Liu Guosong’s guidance, Chan Shing-kau openly accepts watercolor and dissolved acrylic as complements to regulate the moisturized Chinese ink. He lays stress on a harmonious coexistence among various kinds of “hydraulic paints” once recognizing a fact that they can be equivalently absorbed by xuanzhi paper (宣紙), mulberry paper (桑皮紙), mazhi paper (麻紙), synthetic-fiber paper (人造纖維紙), cotton cloth (棉布) and other types of two-dimensional Chinese mediums.

Chan Shing-kau upholds a new concept that, the Chinese ink can be regarded as a kind of chrominance, or to say, a kind of “pigment” for highlighting the vitality of our secularity and ecology. Chan Shing-kau and his fellow Chinese-ink painters in Hong Kong made a wide range of experimental effects by a fully pledged manifestation on the inter-relationship among paper, brush and ink. A kind reference was made on the seven kinds of Chinese-ink applications advocated by Huang Binhong (黃賓虹), which were, condensed ink (濃墨法), paled ink (淡墨法), cleaved ink (破墨法), sprinkled ink (潑墨法), soaked ink (漬墨法), scorched ink (焦墨法) and shrunk ink (宿墨法). For the use of new textural strokes, apart from following his old acquaintances to pursue “pearl” strokes (珍珠皴), “leaf vein” strokes (葉脈皴), “fish net” strokes (漁網皴), “shifting sand” strokes (流沙皴) and “ripple” strokes (波紋皴), Chan Shing-kau attempt to enrich the methodologies by inventing the “plucking sinew and peeling skin” strokes (抽筋剝皮皴), “white linear as a substitute to black linear” (以白線代替黑線), and “white linear for a production of tensions”(白線產出張力). Liu Guosong, his master, endeavored for his art creations during the period that the United States accomplished its mission in sending astronauts, like Neil Armstrong, to reach the space and explore the noumenon of moon. Getting admired with the scientific achievements of the Americans, Liu Guosong guided Chan Shing-kau to withdraw from the “scholarly-liked” restricted eyesight on our Nature and re-explore the virtues of this Universe based on the Western mode of rational philosophy. Since then, Chan adapts to foster inspirations related to the idea of eternity given by our Creator. Even though Chan’s description on mountainous landscapes reflects a self-expressive mode of liberation from the ancient doctrines, we can still comprehend Chan’s nationalistic sentiments due to his persisting efforts in making the Western visual elements conciliate with the harmonious norm of Confucian-Taoist culture. Up to now, his Chinese-ink pieces reserve an appropriate scale of spatial distributions, and he enables ink strokes to interlace as decorative patterns.

Indeed, Chan Shing-kau encourages the younger generation to remold the “self-images” of their Chinese-ink paintings with compositional innovations. In 2010, corresponding with Liu Guosong’s ongoing efforts in conducting Modern Ink seminars in various institutes and academies of Mainland China, Chan Shing-kau found the “Contemporary Innovative Ink Painting Association” (當代創意水墨畫會) and united a group of Chinese-ink enthusiasts for organizing a persisting series of joint exhibitions. The establishment of “Contemporary Innovative Ink Painting Association” further acknowledges those who honor “traveling spirits”, as Chan Shing-kau conveys “self-expressiveness” and “leisure” as two important criterions for making Modern Ink Painting emerge as an orthodox institution in the fine-art circuit of Hong Kong.

Recently, Chan Shing-kau concentrates on portraying climatic, atmospheric and hydraulic transformations during the seasonal changes. He dares to constitute fogs, mists, smog and dew as the major substances in his imaginative landscapes. Putting aside the centralized use of brush forces (中鋒), Chan Shing-kau adopts a huge portion of moisture to create washing effects for the piecemeal ink drops that are mixed with color pigments. Being successful in presenting art lovers with the vision of immensity and tranquility, Chan Shing-kau accomplishes the goal of pursuing a utopian realm of internalized enhancements with Zen philosophy as a guiding code.

Author: Vincent LEE Kwun-leung (李冠良)

(Declaration of Interests: I am the Art Officer from the Art Of Nature International Company Limited. The Art Of Nature establishes its exhibition booth in the 4th Cross-Strait Xiamen Cultural Industries Fair between 28 and 31 October 2011. Chan Shing-kau is a participating artist in this event, and I possess the ultimate right to write about the creative ideas of Chan Shing-kau’s paintings based on his first-hand interpretations.)

Kinsan Chung (鍾建新) was born in Hong Kong. He graduated from School of Design at Hong Kong Polytechnic College. He concentrates on watercolour painting since 1975.

He is now the Founder of Tai Po Country Art Museum and Consultant of The HeArt Touch Charity Foundation. He has ever organized a solo-painting exhibition in Washington, the United States. In 2010, the China Star Light Charity Fund Association organized “The Unity of the World – Kinsan Chung Charity Auction & Solo Exhibition” in Hong Kong Chinese Fine Arts Centre.

Eyes of Father of Nation (不屈)
(154.5 cm x 102 cm; Watercolor on Paper)

Kinsan Chung portrays Dr. Sun Yat-sen’s facial appearance, and he adopts the last photo that Dr. Sun took before his death as a reference. Chung is deeply touched by the persistence, selflessness and diligence of Dr. Sun. He has read a wide range of scholastic publications, such as “The History of Dr. Sun’s Philosophy” and “The Biography of Dr. Sun”, to obtain inspirations. He manifested his imaginations to describe how Dr. Sun looked like. Even though Dr. Sun’s eyes unveiled a kind of mental exhaustion, he never let himself collapsed. He insisted to go ahead with his ultimate ideal, as he did not want to see a stagnation of reformative and liberal thoughts in China.

Kinsan Chung vividly expressed the determined spirits from Dr. Sun’s innermost condition by adopting the textures of rocks. He transformed his angers into a sort of motivation that pushed forward the wholesome revival of Chinese Civilization.

The Young Lady – Soong Ching Ling (出塵)
(154.5 cm x 102cm; Watercolour on Paper)

Kinsan Chung describes historical figures based on his comprehensive analysis on national history, and he describes Madam Soong Ching Ling as similar as a statue. While Chung was portraying Madam Soong’s clothes, Chung applied the iconographies from the accessories on Goddess of Mercy’s body as a kind of fashion design. The theme of this painting is “The Young Lady”. Such inspiration originates from Chung’s experience of having a dream at night. Chung was impressed while seeing the compassionate face of the Goddess of Mercy. He tried to merge that particular kind of “compassion” with the facial description for Madam Soong. The art lovers can perceive the simplicity and immortality of Madam Soong. In fact, Madam Soong had a disobedient personality during her years of overseas studies in the United States. After her marriage with Dr. Sun Yat-sen, Madam Soong turned to be very committed in various charity affairs. She cared for the prospect of the entire Chinese Civilization. Thus, Madam Soong changed to be as compassionate as the Goddess of Mercy.

Existence (自在菩薩)
(77.5 cm x 51 cm; Watercolour on Paper)

Kinsan Chung made reference to a particular “Goddess of Mercy” statue in the Ming Dynasty to create this painting. He corresponded with the notion of “reconciliation with Nature”, which was advocated by Wang Yangming (王陽明), a distinguished master of “Rational Philosophy” in the Ming Dynasty. International scientists have proved rocks and stones as “the Origin of Creations”. The holes on rocks and stones allow the pregnancy of biological lives. They are of strong surfaces, and facilitate an immense level of spatial expansion. Humans could discover the noumenon of our Universe by an observation on rocks and stones.

The Goddess of Mercy is a transformed figure of “Universal Compassion”. She stresses the importance of “heartfelt care”, “fraternity” and “equality”. She is the symbol of harmony. Humans in this contemporary epoch badly need these graceful attitudes. In fact, there’s a “Goddess of Mercy” in every person’s innermost condition. It is because we comprehend the virtue of maintaining a good interpersonal relationship with kindness. Kinsan Chung recited the Buddhist scriptures while he was portraying the leisurely appearance of the Goddess.

Author: Vincent LEE Kwun-leung (李冠良)

(Declaration of Interests: I am the Art Officer from the Art Of Nature International Company Limited. The Art Of Nature establishes its exhibition booth in the 4th Cross-Strait Xiamen Cultural Industries Fair between 28 and 31 October 2011. Kinsan Chung is a participating artist in this event, and I possess the ultimate right to write about the creative ideas of Kinsan Chung’s paintings based on his first-hand interpretations.)

史蒂夫·喬布斯Steve Jobs）就是這樣一位計算機PC文化的成功踐行者。或可以這樣宣稱：對計算機PC文化的普及、提升，喬布斯做出了重大貢獻。

喬布斯，何以為計算機PC文化做出重大貢獻?以下幾個方面就能比較直觀的說明：

1.使機計算機運用進入大眾：

喬布斯雖然唯讀了一個學期的大學,但他卻被聘為美國工程院院士,入選院士的理由是“開創和發展個人電腦工業”。

首先，喬布斯於1984年推出的麥金塔電腦（Macintosh）。麥金塔電腦是第一款成功的商用小型電腦和PC，採用圖形化使用者介面。除了介面上的差別，麥金塔作業系統在記憶體管理上有 DOS不可比擬的優勢，因為後者實際可用的記憶體始終局限在640K，而前者沒有任何限制。麥金塔一出來後, 似乎就開創了約伯斯所強調的“設計”和“易用”的PC大眾特質。雖然，在此之後約伯斯離開了蘋果，但無論從技術上、還是從商業上講，都奠定了蘋果以後的巨大成功。

隨後，他與人合夥創立了皮克斯（Pixar）動畫公司和NeXT公司。1996年，喬布斯重返蘋果。為使電腦成為人手一台的大眾流行品，他依次推出了iMac電腦、iPod播放機、iPhone手機、iPad平板電腦，並且成為全球品牌價值最高的公司。在電子產品頻頻更新換代的今天，這絕對是個奇跡。在iPhone面世之前，諾基亞、三星、LG、摩托羅拉等大牌公司拼命地進行技術賽跑。喬布斯關注到的用戶需求，並且將功能的體驗利用新技術做到最人性化。

喬布斯重新定義了電腦、MP3、MP4、手機的概念，他是電腦業界與娛樂業界的標誌性人物，同時人們也把他視作麥金塔電腦、ipad 、ipod、itunes store、iphone等蘋果知名數位產品的締造者。

2. 促成了個人媒體真正形成：

眾所周知，人類文化的發展與傳播文化的媒體技術關係極大。喬布斯從將圖形化使用者介面廣泛應用到個人電腦之上的麥金塔電腦、到ipad 、ipod、itunes store、iphone等蘋果數位產品，都成為世界上操作日趨簡便的領先產品, 觸控式螢幕操作流暢，網頁流覽輕鬆，圖像解析度高、娛樂功能強大，運行速度快。真正改變了世界，也改變了傳統。使PC達到技術成為實用，圖型使用者介面、圖示、電腦桌面都便捷易用，產品薄巧，簡約而又美觀，在系統上軟體擴展性強等效果。這正是喬布斯數位產品操作日趨簡便的效果, 促成了個人媒體真正形成。

大約在2006年，喬布斯在為iMac舉行的推介儀式上說：“我們正沉陷入數碼相機、數碼攝影機、MP3播放機越來越難用的境地，我們不能將它們簡單地結合在一起，我們需要一個所謂的數碼中樞讓我們連接這些器材，讓我們的數碼生活更便利，讓數碼產品的價值得以提升” 。他說出了蘋果PC更高的目標，以及宣導“數碼生活方式”的戰略思想。喬布斯的目的就是：使蘋果電腦成為聯結各種數碼器材的中心，讓使用者通過軟體，將不同的數碼器材緊密而有機地連到一起。iMac讓數碼音樂播放機iPod、數碼相機、數碼攝像機、以及數位電影製作等數碼設備結合在一起，開創和演奏計算機PC文化的嶄新而又精彩的樂章。

3.  影響推動了流行文化：

喬布斯從裏德學院退學後，與傳奇工程師史蒂夫·沃茲尼克(Steve Wozniak)聯手創建了蘋果。1996年回歸蘋果後，喬布斯再造了音樂和手機產業，甚至可以說是創建了平板電腦產業。喬布斯通過麥金塔電腦掀起了個人電腦革命；通過iPod掀起了隨身聽革命；通過iPhone掀起了手機革命；通過iPad掀起了平板電腦革命。

在本世紀最初的幾年裏，小巧精緻的iPod迅速佔據了可攜式音樂播放機市場的主導地位，iTunes得以成長為最大的音樂銷售平臺，這是蘋果公司的音訊視頻內容的創作和傳播創新的結果。

蘋果公司簡單但好用的照片和視頻編輯軟體，能讓PC或手機制作出看起來非常專業的視頻和多媒體視聽藝術作品。隨著社交媒體的發展，計算機PC文化得以廣泛交流和普及。

與此同時，線上服務的結合得以廣泛運用, 計算機PC文化在Internet的網際中得到深化和更加方便的互動，享受豐富多彩的圖、文、音樂、視頻定制服務。 iPod成功地把蘋果的時尚和對用戶友好的技術與線上服務結合起來，打造出令競爭對手難以匹敵的數位化體驗與多途運用，加速了計算機PC文化時代中流行文化的形成與發展。

4. 催生了數字書籍和雜誌業:

擁有和即將擁有改變生活的“超級媒體”和“超級紙張”等蘋果知名數位產品的人們，在不知不覺中改變傳統的方式，成為計算機PC文化的親身體驗者與見證人。這是因好喬布斯的可攜式個人裝置，說明催生了俗稱“電紙書”的數字書籍和雜誌業誕生，幫助人們能夠輕鬆獲得原來很難找到、價格非常昂貴或者由於非常重而不便攜帶的書籍、刊物、報紙。同時，他改變了我們閱讀新聞和書報的方式，形成人們在移動中閱讀大量新聞的最有效的新方式。

毫不誇張的說: 在改變人類運用互聯網、享受電視劇、電影和圖書視覺藝術，消費音樂、戲曲等聽覺藝術品的方式領域，喬布斯是一個不可或缺的計算機PC文化築路人。

5．偉人身後的贊評：

短短十年，喬布斯使蘋果從一個瀕臨破產的公司成為了一個龐大的帝國。喬布斯早已超越了個人電腦範疇，從而成了橫跨IT、手機和多媒體三大業務的領袖偶像。

毋庸回避，喬布斯可能不是他那一代人中最偉大的技術專家或科學家，他只是一個高中畢業後，在俄勒岡州波特蘭市的裏德學院的一所大學中只念了一學期的休學退學者。但他可能是史上最偉大的技術體驗者。是蘋果公司的創始人。是唯讀了半年大學的美國工程院院士，但他入選院士的原因是“開創和發展個人電腦工業”。 這正如科學文化名人、著名科普作家、中國互聯網協會特邀專家楊孝文先生在他的新浪微博中這樣簡評一樣：僅管喬布斯“他親手發明的東西並不多，他並不是電腦科學家，也沒有接受過硬體工程師或工業設計師的相關訓練，但他確實是一位將想法、藝術和技術巧妙結合在一起的高手。喬布斯的專長不在於技術，而在於用人。”楊孝文先生還指出：“把高科技轉換成身邊很普通的東西，並且能夠讓用戶感到驚喜和興奮，還能夠方便地使用。天下能做MP3的公司有很多，能做iPod的卻只有蘋果一個。當我們提起MP3的時候，感到是和iPod不一樣的兩種產品，iPod是MP3卻顛覆了MP3。蘋果成功的訣竅在於使用正確的技術，關注前景光明的技術。”

喬布斯的成就，使全世界都公認他是電腦業界與娛樂業界的標誌性人物。同時人們也把他視作麥金塔電腦、ipad 、ipod、itunes store、iphone等知名數位產品的締造者。1985年，喬布斯獲得了由雷根總統授予的國家級技術勳章；1997年成為《時代週刊》的封面人物；同年被評為最成功的管理者，是聲名顯赫的“電腦狂人”。2007年，史蒂夫·約伯斯被《財富》雜誌評為了年度最偉大商人。2009年被財富雜誌評選為這十年美國最佳CEO，同年當選時代週刊年度風雲人物之一。

一個偉大的電腦PC文化開拓者、一個偉大的IT天才、蘋果公司主要創始人斯蒂夫喬布斯近日因胰腺癌於美國時間2011年10月5日去世。

當代傳奇式人物喬布斯辭世了，多國政要和科技、文化名人發表聲明悼念，各知名媒體紛紛評論：

美國總統奧巴馬5日也發聲明悼念喬布斯。奧巴馬說：“他改變了我們的生活、重塑了整個業界、並在人類史上取得了少有的業績。他改變了我們看待世界的方法。史蒂夫是美國最為偉大的創新家之一，他敢於以不同的方式思考、他足夠大膽，敢於相信自己能夠改變世界、他具有足夠的才能去這麼做。”

蓋茨說：“史蒂夫與我是在近30年前見面的。在我們過去多半生當中，我們不僅是同事、競爭對手，還是朋友。世界上很少人能擁有約伯斯所擁有的影響力。他的影響力將影響將來很多代人。”蓋茨還說：“與他一起共事實在是一種極大的榮譽。我深深地懷念史蒂夫。”

著名影星章子恰在新浪微博裏寫道：“創新失去了精神領袖。致哀！”美聯社撰文評論：“喬布斯改變科技行業走向”。FI全球財經網說他是：“重塑世界的科技的創想家。 美國科技博客編輯稱喬布斯在‘完美的銷售能力/對消費者行為的準確判斷完美主義者’三方面無可替代”。中華工商時報稱：“約喬布斯精神將鼓舞世界經濟”。雅虎執行副總裁布萊克·歐文說：“靈光四射的精神領袖，不妥協，有遠見，帶來有意義，創造獨一無二信仰的人。感謝史蒂夫！”雅虎Twitter帳戶為約伯斯寫道：“他留下了無數的創新，改變了我們的生活。”創刊於 1921年《巴倫週刊》 Barron’s發表文章稱，約伯斯的耐心成就蘋果：正是史蒂夫·約伯斯(Steve Jobs)的耐心成就了蘋果今日之輝煌。1997年至今，蘋果股價飆升了7000%，但這不是一夜之間發生的。

《財富》（Fortune Magazine）雜誌將蘋果CEO史蒂夫·喬布斯(Steve Jobs)評為《財富》雜誌10年最佳CEO，並回顧了喬布斯給電腦、手機、音樂、電影等美國四大行業帶來的改變。《財富》雜誌以“約伯斯改變世界的10大遺產” 為題，論述了喬布斯永遠地改變了我們認知科技、應用科技的方式，在橫跨個人電腦到音樂產業的廣泛領域都打上自己鮮明的烙印。即在設計/音樂/個人電腦/後PC時代/廣告/iPhone手機/生態系統/蘋果作業系統/蘋果專賣店/蘋果公司等方面他留給我們的10大遺產。

2011年10月6日, 香港藝術評論總編jack.so(蘇子翹)先生 在“香港藝術評論”的“藝術每一天”欄目，為了悼紀念史蒂夫·喬布斯中寫道:“Steve Jobs啊，如果可以的話，我寧可代你而死，現在我可以做的事，就是像你一樣，即使遇到困厄，仍要向自己的夢想繼續走下去。”

是的，擁有和即將擁有改變生活的蘋果數碼產品的人們：將會在喬布斯計算機PC文化精神中發揚光大並前進。

(王曉波 於2011-10-9深夜至10日淩晨 深圳南山)

陳庭詩 No.326 76*50*24.5 cm

陳庭詩生前知音稀少，許多雕塑作品沒有展出沒有留下題目 (讓觀者費盡思量！)，且創作年分多不可考 (第一件雕塑出現於1965年，1980年代陳庭詩將創作重心由版畫移至雕塑，致力於雕塑直到2002年逝世)，標題只能依陳庭詩遺作彙編的編號，如上圖「No.326」。

「No.326」四周如風吹亂髮 (以堅硬的鋼鐵，做出滄桑亂髮的感覺，化堅鋼為繞指柔，逆反物性指揮材質)，空洞的中心沒有具體的容顏，時光不斷流逝著，被掏空的歲月剎那間凝結、保存了下來。

莊子「齊物論」有云「聖人不由，而照之於天」，聖人不爭論「彼」與「此」的相對觀念，一切依照事物的本然而行。直視時間的本質，從知覺領域傳遞出蒼涼的歷史感，或許「No.326」可以命名為「天照」吧？

陳庭詩 時間、記憶 67.5*34.5*14 cm

如何凝視時間，將一瞬化為永恆，是陳庭詩的中心主題之一。上圖「時間、記憶」，時間的齒輪停止運轉，所有的事物瞬間靜止，記憶 (時間圓盤上的佈件)，或許已經無法一一細數，但所有的記憶都銘刻在時間裡，絕妙的平衡、無限的暗示………。世事變幻被陳庭詩濃縮在時間之輪裡，古拙沉重，考古韻味十足。

陳庭詩 霽月 38*22*16 cm

除了表現時間流逝，陳庭詩對大自然的觸感也極為敏銳，如上圖「霽月」(即雨後的明月)，外圓內方的月亮，外圓呈現不規則狀，搭配內方渲染出月暈，讓明月整個鮮活起來。明月無語，「猶抱琵琶半遮面」，頭上一抹將要消散的橫向烏雲，月光點點滴滴從天上灑落到地面 (左方長條柱的大孔小孔)，右邊較短的條柱對比左邊較長的條柱，將天空與地面的距離感拉開，右邊條柱上方較渾厚的部分，不僅平衡整個畫面，更將天空頂得好高好高。

「霽月」將中華文化自北宋大畫家范寬以來的偉大水墨傳統 (月之點暈、烏雲飄散、月光描點、頂天的處理方法、欲語還休的朦朧之境………)，結合西方雕塑技法，發揮得淋漓盡致，既繼承傳統，又開創了中西合璧的現代雕塑。

陳庭詩 黷武者 1982 85*48*25 cm

上圖「黷武者」完美地結合廢鐵媒材本身的荒涼自棄感與主題思想、表現方式，彷彿讓觀者體驗了戰爭與殺戮：刺穿的頭顱、掉落地上的鋼盔、纏繞著的鐵蒺藜，身軀佈滿了彈孔，反覆訴說著戰爭的殘酷與頑固，右方脆弱的細鐵柱斜斜支撐住身軀 (是槍桿還是佩刀呢？)，「折戟沉沙鐵未銷」，寧可繼續戰爭，也不願屈服，不願倒下，黷武者的戰鬥精神令人不寒而慄！

陳庭詩 燈 1999 109*52*31.5 cm

「具象」與「抽象」，真的是對立的觀念嗎？陳庭詩的作品挑戰了這條楚河漢界，如上圖「燈」。具象與抽象融會一體，外表似乎具象 (這件作品不必題目，就知道是燈)，其實不是具象 (看看那些光暈和光圈！)。這是從具象裡表現抽象概念，看似具象不是具象，以為抽象又不是抽象，虛者實之、實者虛之，虛實交錯為用，以造型直取直覺，捕捉萬物本質。這種把具象抽象一體化的妙境，筆者以前從未想過。

所有高明的藝術家，都必須在他處身的世界找到自我的表達，到了最精微處，沒有一個時代、沒有一個人是相同的；無比貴重的時間，上一秒與下一秒也是不相同的。頂尖的藝術家確立人類存在的「獨特性」與「惟一性」，足以超越這無告的虛空。這也應是「虛空有盡，我願無窮」(聖嚴法師語) 的一解。

若將陳庭詩與常玉相比 (參見拙作「傾城之璧—-談談常玉」)，常玉乃華人油畫之最尊，在油畫此一西方媒材中找出東方精神，西方媒材是「主」而東方精神是「客」，整體而言稍有「隨筆」的性質，開拓的完整性不夠全面；陳庭詩則以東方精神去駕馭西方雕塑，東方精神是「主」而西方媒材是「客」，以主使客，如心使臂如臂使指，於華人雕塑、版畫不做二人想。

本文以陳庭詩1996年作品「大律希音」為題，其典改自老子道德經第四十一章：「明道若昧，進道若退，夷道若纇 (音「類」，平坦的路像是崎嶇)，上德若谷，大白若辱，廣德若不足，建德若偷 (剛健之德卻像懈怠薄弱)，質真若窬 (音「瑜」，質樸真實卻像空虛)，大方無隅，大器晚成，大音希聲，大象無形，道隱無名。」，陳庭詩因童蒙時跌倒導致聽障，一生在無聲的世界踽踽獨行，華人藝術環境不比西方，不會給大藝術家任何鼓勵，陳庭詩這條路走得比Constantin Brancusi (1876-1957)、Alberto Giacometti (1901-1966)、Mark Rothko (1903-1970) 艱辛得多。大律希音大音無聲，當是陳庭詩生命最好的寫照。

陳庭詩藉由組合元件來喚醒材質的內在，召喚出有機交融的新生命，展現無與倫比的創造力與美學高度，其作品深具東方文化神髓，足與西方一流藝術家比肩，堪稱華人藝術史第一人。

原文刊於”他方的他方”

繪畫之理，既是常理，又非常理。法無定法，破常理，故畫無常理。顛覆常理，再破再立，故畫無常理，藝亦無常理。

繪畫之理，法之自然。出之自然而又高於自然。

張璪雲:“外師造化，中得心源。”[注1] 。黃賓虹先生[注2] 亦曾說：“作畫當以大自然為師，若胸有丘壑，運筆便自然暢達矣。”黃賓虹先生還談到，古人論畫謂“造化入畫，畫奪造化”，“奪”字最難。造化天地自然也，有形影常人可見取之容易；造化有神有韻，此中內美常人不可見。畫者能奪其神韻，才是真畫，徒取形影如案頭置盆景，非真畫也。

是故，齊白石[注3]神妙之處亦在“似與不似之間” 。摹客觀所見之物得下,畫心中之塊壘為中,寫心中之逸氣上也。

中國山水寫生不是以簡單的摸仿或如西方照相拍攝為目的，而是強調作者與物件的互化而求心知。寫生實為一種天意與人意合一的再現、再組、再造。是宏觀性的天人交合的跡化。

齊白石一生追求變法，而最為著名的是他60歲到70歲的階段的“衰年變法”。齊白石從他60歲開始“衰年變法” ，1926年他在變法進行到第七年時說：“作畫開始接觸古人的真跡很多，但是獨自成家就要擺脫掉前人的習氣，不要按照前人已經形成的習慣的畫法來畫，在前人之外創造自己的風格，那是前人所沒有的。這樣做即使把牙都掉光了，還沒有人知道，那麼自己也問心無愧了。” 在定居北京之前，齊白石山水花鳥人物都畫，他的變法從花鳥畫開始。他不是一般地學習古代花鳥畫，他選擇了幾個人，徐渭、石濤、八大山人。他認為這三人能夠橫塗豎抹，不受各種法度的束縛，淋漓盡致地表現自己的內心。

齊白石在變法中的突出特點是學習文人畫，並從中汲取文人畫的“超越形似”。文人畫家不僅追求筆情墨趣，重要的是追求作畫的創造性。

齊白石推崇學習的吳昌碩，重神韻勝過畫形，他是少數的金石書畫皆能融合一體的藝術家。他的篆文的書法，雄厚凝煉，貌拙遒勁，極富金石氣息。他在繪畫上，亦慣用“寫”的風格來繪畫，故吳昌碩畫的花卉木石，筆力厚重老辣，力透紙背，又縱橫恣肆，氣勢雄強。

齊白石講“畫畫要先脫畫家習氣，就自有獨到處”。好的文人畫家是講創造性的。齊白石講的是要表現物件內在的精神，要抒發自己的感情，這就是他講的神似。他晚年題了“妙在似與不似之間”。這就是“作畫要形神兼備”。

吳昌碩[注4]的文化取向鼓舞著齊白石的繪畫變法。吳昌碩的畫符合當時迅速成長的市民階層審美需求，及其雅俗共賞的文化特點。吳昌碩的畫富於生命力，構圖飽滿，顏色鮮活，以及篆刻和書法沉著老辣。作為木匠出身的齊白石，原本出之民間，有著深厚的民間審美趣味，再加上他學吳昌碩古樸渾厚的藝術形式和精神，使齊白石開創了繪畫大刀闊斧、縱橫開合，紅花墨葉、色彩強烈及其誇張對比的表現風格。

我們可以通過齊白石畫的蝦和小雞看到他變法的情況。齊白石的變法一直在進行，如畫蝦，第一次變的時候有意識的追求骨法。第二次變蝦的身體開始有了轉折，鉗子也動了起來，開始遊動而有生趣了。第三次變，群蝦遊動，把蝦畫得很透明，但在蝦的頭部處理上用墨較重，對比顯示出身體輕盈透時，顯示了靈活變化的遊動感，苑如真的在水中遊動。

齊白石經過衰年變法，從而形成了他的內容與形式完美統一的、獨特的、別開生氣的、不凡的大寫意風格。奠定了作品大拙、大朴、大簡，而又 “簡而不空”的意境，品之構圖、色彩、揮筆、運墨已從有法到無法，隨心所欲，前無古人，後無來者。

藝術創作無常理而新，我們似乎還可以從鄭板橋的繪畫與書法中有所領悟。

鄭板橋[注5]的繪畫和書法從中國書畫元素中吸取變革因數並創新貌，後人贊評他的書畫作品以其“清、勁、怪” 而遺世。鄭板橋的繪畫題材，以蘭、竹、石為主要描繪對象，其次是松、梅、菊等。他在不泥古法的同時，以平凡的題材表現出新佈局、新意趣、新意境、新面貌。

鄭板橋藝術創新的另一個重要特徵是“以書入畫”且“以畫入書” 。 他學黃庭堅的長撇，又巧妙地參以蘭竹畫法，使字的中鋒一豎和一撇，猶如蘭竹葉的再現。鄭板橋的繪畫綜合予詩書畫印相融匯一體，形成他個人的獨特的風格。

此外，鄭板橋書畫合一的題跋再加把畫竹與自己的真實生活緊密聯繫在一起，密密麻麻的題跋就寫在竹幹之間，構成他精彩的畫論，他特有的“六分半書”與畫呼應，形成獨特的風格。

鄭板橋的書法很另類，自稱“六分半書” ，篩檢真草隸篆用筆，字形變化多端，章法詭譎多姿，獨創一體，真可推陳出新，不失傳統藉髓，而又殊途同歸。

藝術創作無常理而新，是破舊立新的奇譎多變的理在指引著“破” 確立和“新” 的介入。從藝之常理又非常理的辨證關係中，又印證丁“破舊立新” 即是繪畫藝術真正的迴圈之理。

是故，創新，就是破舊的理，建立新的理。且乃無常理而新的“破舊立新” 的迴圈之理。

( 2011-9-3日于深圳南山)

注釋：

[注1] 張璪:外師造化，中得心源。：出自唐朝的畫家張璪，是中國繪畫史上的不朽名句。簡單的說，「造化」是指大自然，「心源」指的是內心的感悟。意指畫家應以大自然為師，再結合內心的感悟，然後才可創作出好的作品。

[注2] 黃賓虹（1865年-1955年）：現代傑出國畫大師。原名懋質，名質，字朴存、樸人、亦作樸丞、劈琴，號賓虹，別署予向、虹叟、黃山山中人等。原籍安徽歙縣，出生於浙江金華。幼喜繪畫，課餘之暇，兼習篆刻。6歲時，臨摹家藏的沈庭瑞（樗崖）山水冊，1887年赴揚州，從鄭珊學山水，從陳崇光（若木）學花鳥。除山水畫外，由於黃賓虹在美術史上的突出貢獻，在他90歲壽辰的時候，被國家授予“中國人民優秀的畫家”榮譽稱號，有“再舉新安畫派大旗，終成一代宗師”之譽。

[注3] 齊白石(1864一1957)：漢族，湖南湘潭人，二十世紀十大畫家之一，世界文化名人。是我國20世紀著名畫家和書法篆刻家。曾任北京國立藝專教授、中央美術學院名譽教授、北京畫院名譽院長、中國美術家協會主席等職。曾被授予“中國人民藝術家”的稱號、榮獲世界和平理事會1955年度國際和平金獎。代表作品有《花卉草蟲十二開冊頁》，《白石草衣金石刻畫》等。2011年5月22日，他的最大尺幅作品《松柏高立圖•篆書四言聯》被拍出4.255億元人民幣的天價。繪畫師法徐渭、朱耷、石濤、吳昌碩等，形成獨特的大寫意國畫風格，開紅花墨葉一派，尤以瓜果菜蔬花鳥蟲魚為工絕，兼及人物、山水，名重一時，與吳昌碩共用“南吳北齊”之譽。齊白石主張藝術“妙在似與不似之間”，經過“衰年變法後，以其純樸的民間藝術風格與傳統的文人畫風相融合，達到了中國現代花鳥畫最高峰。其畫印書詩，人稱四絕。一生勤奮，硯耕不輟，自食其力，品行高潔，尤具民族氣節。留下畫作三萬餘幅、詩詞三千餘首、自述及其他文稿並手跡多卷。其作品以多種形式一再展示出印製行世。

[注4] 吳昌碩（1844 –1927）：浙江湖州安吉人，是晚清著名畫家、書法家、篆刻家，為“後海派”中的代表，是杭州西泠印社首任社長。吳昌碩與虛谷、蒲華、任伯年齊名的“清末海派四傑”。

[注5] 鄭板橋(1693 – 1765年)：清代著名畫家、書法家；原名鄭燮，字克柔，號板橋，也稱鄭板橋；乾隆時進士，曾任濰縣縣令。人稱板橋先生。江蘇興化人。“揚州八怪”的主要代表，以三絕“詩、書、畫”聞名於世的書畫家和文學家。他的一生可以分為“讀書、教書”、賣畫揚州、“中舉人、進士”及宦遊、作吏山東和再次賣畫揚州五個階段。