4K空拍2021新北石門老梅石槽│有如抽象畫般的春季限定絕美色彩【山水畫家的藝術】高畫質影像分享

圖片
老梅綠石槽位於新北市石門區老梅里,又稱綠石槽海岸, 是同時擁有細緻沙灘與被侵蝕的岩岸景觀,且這些石槽被海水侵蝕得非常漂亮,形成一道道總長將近2公里,平均深度大約50公分的溝槽,故能吸引許多攝影愛好者或遊客來此駐足觀賞。 原本是大屯火山爆發後遺留在海岸邊的火山礁岩,由於經過長時間的波浪侵蝕,質地鬆軟的部份被侵蝕,留下較堅硬的部份形成縱狀溝槽,東北季風帶來的浪花打在石槽表面上,浪花滋潤了石槽岩面,慢慢地滋生綠色的石蓴、海髮絲等海藻,形成令人驚嘆不已的「綠石槽」季節限定美景。 這絕美的景觀通常出現在3月中旬到5月上旬,特別以4月清明期間最美,整個海邊溝槽上面會附滿海藻,形成一條又一條的「綠石槽」,把海岸染成鮮綠的色彩。且從高空俯瞰更能欣賞石槽與海浪之間,因動靜的互動,而產生的各種浪花圖案,且沙灘、石槽和海水三者構成的線條與顏色,更是有如抽象山水畫般的美麗,讓人印象深刻,能夠趁著假期,來此感受造化神奇的魔力,真是太幸福了。

Liang Chen Ming’s Random Thoughts on Ink Paintings


Taiwan is a country with an island culture, which is always ready to accept new cultural values from dominant countries such as China, Japan and the United States. The number of people with a good taste has been dwindling despite the fact that Taiwanese ink paintings began taking root in 1949. How do painting artists of the new generation deal with this plight? Undoubtedly, Chinese ink paintings would not have achieved its aforementioned success without promotion and advocacy from the elitist circles. How do Taiwanese artists find a way out in an era dictated by secular culture, where few attention has been paid to the art of ink paintings, let alone the distinction between ink and black?
53x45.5cm 2013

2013 is a year of contemporary Chinese ink paintings, when “experimental ink paintings,” “new literati paintings,” “ink painting installations,” “new meticulous paintings” and “new ink paintings” had flourished. Taiwanese ink paintings have also seemed to benefit from the economic growth of China, and there is a general expectation of a boom in the market. Not all the artists who have stood out and drawn attention in recent years opt for a traditional method painting on paper with Chinese brush pens and pigments. For instance, Lin Ju and Lin Chuan Chu employ oil paint; Yao Jui-Chung paints with ballpoint pens; Yuan Jai, Pan Hsin-hua and Chien-Chiang Hua draw with gouache or acrylic paint; and Chen Chun-Hao creates with gauge nails. There are also artists who adopt traditional forms and themes of rethinking the culture, or even social issues and abstract expressions in terms of subjects. Several contemporary ink painters have received high marks, including Wenda Gu, Xu Bin, Xu Lei, Zhu Wei and Hao Liang from China, as well as Liu Dan and Li Hua-Yi from overseas. They offer new examples of styles and concepts unseen in the past.
45.5x53cm 2014

The trend of creating with new media reflects the possibilities of development of diverse contemporary ink paintings, as well as a determination to apply ink-like materials to one’s own works without a brush pen. That is, every water-based medium deserves a try. How to make a good painting that echoes the times, with or without a brush or ink, is a more worthwhile issue to look into.
Human artistic activities are often a result of an ongoing revolt that gives birth to new beliefs or forms. Ink painting artists in Taiwan tend to find themselves constrained by the burden of overwhelming traditions, since the established creeds seem deep rooted and unbreakable. Every meaning and definition, however, is in fact anchored in a specific time and space, and people’s mindset has changed with the times. Imposition of these antiquated frameworks would only fuel the revolutionary drive, triggering a denial of existing authorities and conventions.
We may as well regard revolt as revolution. The modern Western art has virtually developed under a revolutionary ideology, which gives rise to a diversity of painting schools and beliefs. Liu Kuo-Sung, a pioneering figure in modern ink paintings, proposed the idea to “revolutionize the zhong-feng (center-point) brush technique,” which emphasizes that an outstanding piece of work should not be confined to a single ink painting skill, but be defined by how the artist exerts his ingenuity without boundaries or restrictions.
A revolt is grounded on an inextinguishable desire to make breakthrough, and its supporters are not constrained by conventional ideas or established rules. In other words, they have to gain thorough knowledge and understanding of their targets of subversion before advancing groundbreaking new approaches and methods. The revolutionary idea of applying self-made black pigments occurred to me when I was conducting a research on ink and black. I thus made a total of nine pigments, including pan-bottom black, pomegranate black, tung-oil black, and mat-grass black, and later turned the pomegranate black pigment into pomegranate ink. Using the self-made ink allowed me to draw a fuller picture of what makes ink, ink. Moreover, is it necessary for a landscape painting to include trees in the foreground against a backdrop dotted with boats, carriages and human figures? If yes, can a work featuring only a tree or mountain count as a painting? There is a Chinese saying that describes something as “too tacky to be acceptable.” Is being tacky or too popular falls outside the realm of art? Then, how do we interpret the idea that art should “appeal to both refined and popular tastes”? Here lie the boundless possibilities of artistic creations.
53x99cm 2014

It is a blessing to be a painter living in Taiwan, where he can at least incorporate whatever theme and form he likes into the works. There is no lack of support and sponsorship from a small number of loyal fans, and being “out of ordinary” makes an artistic work all the more appealing. Nowadays, thanks to joint effort from numerous artists of diverse styles, the ink paintings in Taiwan have reached a flowering rarely seen in recent years, and been well received by various art institutions and collectors at home and abroad.
The Tai Chi symbol in Eastern philosophy represents two extreme forces, the union of which leads to endless transformations with no conclusive results. Because Yin and Yang coexist in everything, and everything embraces Yin and Yang, there are opposite yet complementary energies in pairs such as “solidity and void,” “black and white,” “waxing and waning,” “refinement and popularity,” and “fullness and emptiness.” As opposed to the kaleidoscope of colors in our natural world, ink paintings consist only of black and white. As white is purely fictional, black sets the main tone for the painting. This far surpasses the illusion of physical representation, and is akin to a spiritual pursuit.
It is my long-term goal to defy the existing frames of materials while maintaining the form of ink paintings. Mastering the concept of “writing,” in my opinion, is critical to achieving the goal, and the art of writing far surpasses the act of drawing lines. There is a major difference between “drawing lines” and” writing lines” in that the former aims to outline the subjects, and the latter, modify the lines through addition and deletion. The vases of flowers painted by Sanyu, for example, are easily conceivable yet full of visual tension. The process of writing forces the artists to think and put their thoughts into order in their quest for perfection.
Modification is not a method commonly used in traditional ink paintings; yet, without reiterative practices and adjustments throughout their life, poets and calligraphy artists would not have produced remarkable masterpieces. Writing requires repeated rumination, and word-for-word revision. For the calligraphists, imitating a copybook for a hundred times is merely part of their assignment. While revision itself is an act of perseverance, creating is a healing experience in which the creator needs to anatomize himself before piecing himself back together. Each step is taken to review lifes journey, uncover its hidden values, and empower the vulnerable self by drawing inspirations.


I try to emphasize this idea and put it into practice by adopting intricate lines and revising them repetitively. While it takes a large amount of time to draw and revise the lines, the behavior of painting with a brush becomes an extension of antimatter, as well as a substantial embodiment of writing. Calligraphy is about writing, which seeks to “study the phenomena of nature to acquire knowledge” and thus represents the concept of detachment and simplification. I hope to select a few out of hundreds of colors based not on the exact color of the object, but on subjective perceptions of it. I also endeavor to enhance the depth of a single color, since ink means much more than black. Density and moisture of ink vary with the amount of water used; an exceptional painting, therefore, depends not on the number of colors it utilizes, but the depth and subtlety of colors it demonstrates.
Being an artist is a lonely profession, from ancient to modern times. No one can predict if he can turn into a master going down in history or not, so scrupulous dedication to every work is something required of a painter. Discarding the use of brushes, ink, paper and ink stones altogether might be a relief and a new start, but it remains far from a solution to the core problems facing artistic creation. In the pursuit of art, the creator cannot be limited by conventions, nor can he blindly follow the trends. Reflection of the self is more crucial to artistic practice. The difficulty of painting depends on the wisdom of an individual, who should be able to see his own weakness and strength. A mindset of ignorance and arrogance would hinder his chance for improvement.
Taiwanese ink paintings have flourished on a scale previously unknown in the past two decades due to the rapid economic growth of China. A wide spectrum of exhibitions of ink paintings or on the theme of Asian spirituality has been taking place in public or private exhibition spaces. In addition, this is an era marked by blurring boundaries between ink and black, and Western visual dominance. As the alternative concept of “anti-Xuan paper” or “anti-brush and ink” has become all the rage, the doctrine that advocates a single medium or technique has given way to a preference for media or concepts with a contemporary personality. It seems time for us to make choices and find our own paths.

It is certain that, without this recognition, we would suffer from narcissism and a failure to accomplish our aspirations. There would be a whole new world, in contrast, if we could break out of the traditional modes of thinking. As Taiwanese, we are under no obligation to shoulder the historical task to revive Chinese culture, so we can devote ourselves to art that mirrors a profound life experience or social values. Let’s do art for art’s sake, and express our truest innermost thoughts. Whatever the times, commitment to research and practice is integral to our role as artists.

留言

這個網誌中的熱門文章

當代水墨 梁震明水墨創作介紹

當代水墨 梁震明 黑色的覺醒創作自述

梁震明 太魯閣系列創作介紹 立霧溪畔的驚艷