梁震明水墨創作與材質研究

影片中介紹關於書畫常用的墨條、墨汁和黑色顏料，用淺顯易懂的文字陳述東方藝術重要材料-墨的奧祕，分享給一般普羅大眾知悉與了解。 例如松煙墨是用松煙加膠而成的墨品，是最早能稱之為「墨」的墨種，透過講究的工序，達到書畫用途的目的。 試將其製作的方法及使用的情況，整理介紹如下： 1.松樹富含油脂，有易燃的特性，可獲取較多的煙料。 2.非用松樹的枝葉來燃燒獲取，而是將松幹裁切成木條後再行處理。 3.松條每次燃燒不能過多，僅能三、兩枝，若量大煙暴，反而有損煙質。 4.唐代是用立窯取煙，宋代則是用臥窯，設置的地點也有分平地型和山區型兩種。 5.臥窯取得的煙料較立窯為佳，是因為距離火源較遠，能取得更為細小的碳粒。 6.每次必須連續燃燒7日後，等到窯內溫度下降後，再用扇子輕輕刮煙。 7.收集到的松煙，最細的拿來做佳墨，次等則印書用，最粗的則是當油漆塗料用。 8.印書需用大量的墨，是直接將松煙料與膠料直接調和成墨水來用，所以古籍印刷的字跡絕大部分是用松煙印成。 9.松煙無油光但偏藍光，是因為所含碳粒較粗所造成的反光現象，所以日本稱其為「青墨」是有道理的，且專門用來畫水墨畫。 10.磨松煙墨時，常會有砂丁刮硯，可能是因為煙料中殘留燃燒過後的雜質，或是不慎掃下的窯壁砂土。 11.松煙墨的墨性是較油煙墨適合水墨創作使用，是因為其所含碳粒的粗細範圍較廣，能產生較為分明的墨色變化。 12.若以煙料取得難易來說，松煙還是較植物性油煙來的簡單且量多，所以價格較為親民，當寫大字或練習書法時是最佳的選擇。 13.若寫篆隸字體，因不求速度感，松煙墨是較為合用，且書寫的墨色也會較油煙墨更能達到渾厚飽滿的視覺感。 14.在物質缺乏的年代，先民曾用鍋底黑來替代松煙，代表兩者的材質特性十分相近。 15.明清時期雖是油煙墨興起的年代，但僅少數文人雅士有能力負擔使用，所以松煙墨還是佔有較大的市場，從未消失，而真正大量流失客戶的時間，可能不到百年，在礦物性油煙墨的出現後，才徹底改變。 從上述的介紹，傳統書畫家使用松煙墨的歷史，可能超乎我們想像，而現在無論是寫字畫畫，都是用礦物性油煙製成的墨條和墨汁，讓我們誤以為以前的油煙墨就非常廉價，甚至比松煙墨還便宜。其實如果我們是買純植物性油煙製成的墨品，保證價格還是依舊會讓您我大吃一驚的。

■Chong-ray Hsiao Liang Chen Ming, known for his meticulous landscape paintings, is one of the iconic artists in the post-war Taiwan who embrace the modern movement of ink paintings by incorporating the studies of materials and phenomenology into his works. Born in 1971, Liang Chen Ming had not jumped on the bandwagon of the Taiwanese trend of abstract ink paintings in the 1960s, or the Nativist Movement in the 1970s. At a slightly more mature age, he witnessed the rise of the Age of Museums, which occurred in Taiwan during the 1980s. Despite a boom in digital and mobile devices in the 1990s, he opted for the seemingly traditional calligraphic ink as his creative tool and media. We might infer that it has something to do with his identity as one of “the second generation of mainlanders” born and bred in Gangshan, Kaohsiung, a region famed for its abundance of “military dependents’ villages.” His father, who had raised three young children on his own, and served as a mainten...

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. T he 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 dict ated by secular culture, where few attention has been paid to the art of ink paintings, let alone the distinction between ink and black? 2013 is a year of c ontemporary 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 g...