亚洲展讯 | 如山之想六十年 - 庄喆个展
Chuang Che Anniversary Solo Exhibition:
As Lofty as a Mountain 1960-2019
艺术家/ Artist: 庄喆 Chuang Che
展览时间/ Duration: 2020.1.15 (Wed) - 2020.03.01（Sun）
开幕式/ Opening: 2020.1.15 (Wed) 4:00pm
展览地点/ Venue:
亚洲艺术中心（台北二馆）
Asia Art Center Taipei II
台北市乐群二路93号（周一休馆）
No.93, Lequn 2nd Rd., Taipei
展名“如山之想60年”来自作品《如山之想》。《如山之想》是庄喆1960年的创作，除可视为抽象山系列“山想”的起点，更可视作他抽象创作的开端；本次展览共计展出十四件作品，“山想”系列的其中七件由庄喆亲自为本展挑选，从上世纪六十年代至今，横跨一甲子，在每个十年间都精选一张代表性的画作：《初始》1962、《影》1979、《珠露满山》1987、《春之道》1991、《深》2001及《醒》2019，除了与《如山之想》产生呼应与连结外，更试图牵引观者从“山”的思维去探究庄喆抽象画背后所蕴含的语境与意识。
珠露满山
Dewy Mountain
布面油画 Oil on Canvas
125.5x126cm 1987
醒
Awakening
布面油画 Oil on Canvas
167.5x127cm 2019
庄喆
"We have to acknowledge that in the past Chinese painting focused on landscapes, so subconsciously I already had the idea of re-expressing landscapes. In the 1950s, the traditional spirit of landscape painting in Chinese painting was in line with some theories in the past; further liberation from the details of the natural world can bring out the traditional 'spirit'. But it does not seem to be the case now, The way of painting and the way of nature are 'parallel'. This 'parallel' view was previously thought to be 'unified'."
Chuang Che
风景十
Landscape 10
布面油画、丙烯 Acrylic and Oil on Canvas
130x85cm 1972
1977年的《迷雾》记了庄喆的一大突破，他的抽象画开始使用油彩与丙烯，并将书法融入在“笔势”中展现，摆脱了六十年代的文字入画融合拼贴及水墨；在材料运用过程中，他变化万千的颗粒色点和肌理反映出流动的空气感，表达“抽象”与“山水”更真切的意涵；一种非人为的自然状态，回归到绘画的初始，这也就是庄喆力图传达的“真实”。本展中的《风景十》1972、《风景77-8》1977、《抽象》1989、《风景（碧水绿荫）》1989、《隔山有雨》1993、《抽象（余晖万钧）》2007，无不是在抽象形式基础上借由画面的构成让绘画之道与自然之道的精神并行呈现，由外观自然深入至精神自然，在虚灵转润显出犷悍之昂扬气势，抑扬顿挫伴随色彩的恣意放纵，在空间中走向近乎狂喜之状态，实为艺术家顿悟的智慧。
"'Abstract' is a kind of spiritual adventure art for me. It is a kind of 'drama'. It is absolutely dynamic, which makes me satisfied with the reaction and feelings to the outside world. My paintings are not silent. Basically, it is dynamic, conflict, force. However, I deal with it in a way that controls its balance; in the form, 'nature' retreats to the second line, and with the absolute shape, color, and line, it is presented in parallel thinking. In other words, There are two levels in it: the independent structure and nature. The 'nature' in my concept is not on a plane, nor is it a natural appearance at a glance; it can be deduced to area, air, underwater, and even In the microscope. This is where our understanding of nature is different from the past. "
Chuang Che
迷雾
Mist
布面油画、丙烯 Acrylic and Oil on Canvas
127x105cm 1977
风景77-8
Landscape 77-8
布面油画 Oil on Canvas
89.6x123cm 1977
抽象
Abstract
纸本油画、丙烯 Acrylic and Oil on Paper
56x98cm（双拼 Diptych） 1989
隔山有雨
Rainfall Behind the Mountain
布面油画 Oil on Canvas
128x309cm（双拼 Diptych） 1993
风景（碧水绿荫）
Landscape（Clear Water and Greenwood）
布面油画 Oil on Canvas
103.5x120.5cm 1989
抽象（余晖万钧）
Abstract （Ten Thousand Beams of Sunset）
布面油画 Oil on Canvas
50x40cm 2007
纵观庄喆的绘画发展历程，从六十年代即以前卫的思想及画风，在冲击荡漾的年代取得画坛主流的地位，领衔台湾地区现代绘画运动从媒材到观念意识的转变；他长期致力于抽象绘画的探索，且一贯地从抽象表现手法捕捉中国山水，或说东方绘画精神的真实性；足以体现这位艺术家超越时代的先见。
-展览现场-
The name of the exhibition Chuang Che Anniversary Solo Exhibition: As Lofty as a Mountain 1960-2019 is based on a work created by the artist in 1960 titled As Lofty as a Mountain. In addition to this piece representing the beginning of Chuang's abstract mountain series 'Mountain Imaginings', it also marks the start of his embrace of abstract art. This exhibition shows 14 paintings, seven of which come from the artist's 'Mountain Imaginings' series and six pieces from the series are selected by Chuang himself. Moreover, each painting represents one of the six decades in which he has been painting: The Beginning (1962), The Shadow (1979), Dewy Mountain (1987), Spring Way (1991), Deep (2001) and Awakening (2019). In addition to these paintings echoing and being connected to As Lofty as a Mountain, an effort has also been made to guide viewers from reflections about 'mountains' to a more in-depth exploration of the context and meaning that informs the abstract paintings of Chuang Che.
For Chuang, mountains represent both a life experience and a vehicle for the dialectic of painting consciousness. At important points in his life, Chuang's growth has been inseparable from 'landscapes', including many places he has lived. Moreover, because his father was Chuang Yen (Chuang Shang Yen, former deputy director of the Palace Museum, Taipei), as a young boy the artist came into contact with renowned landscape paintings by ancient Chinese artists, including many he continues to revere: Shi Tao (1642-1707), Zhu Da (1626-1705), Xu Wei (1521-1593), Chen Hongshou (1598-1652). In the later paintings of Chuang Che, mountains became an eastern cultural symbol and a source of creative inspiration. In 1958, after graduating from the Department of Fine Arts at National Taiwan Normal University, Chuang joined the Fifth Moon Group and the 4th Fifth Moon Art Exhibition in 1960 which was the first time he showed abstract works. However, Chuang's art in this period was very much in a state of 'self-examination' here in which he reflected on the contradictions and compatibility inherent in the collision of Chinese ink painting and Western ideas. It was in this decade that the artist immersed himself in these difficulties with an attempt to reconstruct the definition of Chinese ink painting through media and painting tools.
Mist, which was painted in 1977, marks a turning point for Chuang Che and a new freedom that left his previous ruminations behind. At this point, his abstract painting started to use oil and acrylic, while also incorporating calligraphy as showcased in the power of brushwork, a notable departure from the 1960s when he incorporated words into paintings, blended with collage methods and ink. Through the process of using this medium, Chuang became more aware of the ever-changeable grains of color and texture that can reflect a sense of flowing air and used these to delineate a more precise meaning for the terms 'abstract' and 'landscape'. The other works in the exhibition Landscape 10 (1972), Landscape 77-8 (1977), Abstract (1989), Landscape · Clear Water and Greenwood (1989), Rainfall Behind the Mountain (1993), and Abstract · Ten Thousand Beams of Sunset (2007) show that he seeks to convey the 'truth' of nature detached from the human world and return to the beginnings of painting. On this abstract foundation, the artist uses the construction of his paintings to simultaneously showcase the spirit of painting and nature, extending from external nature to the fundamental essence of nature. This ethereal turn highlights the high spirits of being boldly unconstrained and upbeat, while the cadence and rhythm that accompanies the unbridled indulgence of color and the ecstatic state underscore the wisdom of the artist Chuang.
As we review Chuang Che's career as an artist, we can see his evolution since the 1960s when he embraced avant-garde ideas and painting style to become a mainstream figure in the art world at a time of great upheaval, to his role as a leading figure in the Taiwanese modern painting movement as it transformed in terms of materials and conceptual approach. Chuang has, for many years, explored abstract paintings and consistently sought to capture the essence of Chinese landscape painting, or the truth of eastern painting spirit, through abstract expressionist methods. It highlights Chuang Che's foreseen sight which transcends the time and space.
关于艺术家 About Artist
庄喆，1934年出生于北京，成长养成教育于中国台湾，1957年毕业于台湾师范大学美术学系，同年加入“五月画会”成为主要成员之一，开始推动“中国文人画传统”与“西方抽象表现主义”的结合。父亲庄严（庄尚严）曾任台北故宫博物院副院长，家学渊源使他成为一位内敛儒雅的艺术家。1963至1973年庄喆曾执教于东海大学建筑系，1966年曾获美国洛克菲勒三世基金会资助，赴美研究国际当代艺术，自70年代后旅居美国纽约创作至今。庄喆长期致力于艺术创作与抽象理论的思索，其抽象山水绘画源自于外观自然进而走向形神为终极目标，他以书法的线形结构入画，运笔虚灵转润显出犷悍之昂扬气势，笔触抑扬顿挫伴随色彩宛转空间近乎狂喜状态，画面经常展现自然滴流波溅、撞击、冷峻、氤氲、苍润之气质，伴随纵横吞吐及疏密深远之律动，在浑沌与飞扬之中另辟图象蹊径，诚可视为艺术家内省感受顿悟之智慧。 重要个展: “如山之想六十年 - 庄喆个展”（亚洲艺术中心, 台北，2020）、“鸿蒙与酣畅 - 庄喆回顾展”（台北市立美术馆，台北，2015）、“统览 · 微观”（亚洲艺术中心，台北，2012）、“岭深道远”（中国美术馆，北京，2007）、“笔意纵横 · 参于造化”（亚洲艺术中心，台北，2006）、 “台湾现代艺术：2005关渡英雄志”（关渡美术馆，台北，2005）、“主题 · 原象”（历史博物馆，台北，2005）
重要联展: “风林火山 - 源自东方的抽象”（亚洲艺术中心，北京，2019）、“抽象艺术先锋（1955-1985）”（伊克塞尔博物馆，比利时，2017）、 “1960 - 台湾现代艺术的滥觞”（亚洲艺术中心，台北，2016）、“新东方精神II - 承启”（亚洲艺术中心，北京，2010）
重要收藏: 克利夫兰美术馆（美国）、底特律美术馆（美国）、密歇根大学美术馆（美国）、上海美术馆（上海）、中央美术学院美术馆（北京）、香港美术馆（香港）
Chuang Che was born in 1934 in Beijing, China and spent his formativve years in Taiwan. In 1957, he graduated from the Department of Fine Arts at National Taiwan Normal University and joined the Fifth Moon Group in 1958, becoming one of the group's principal members. Chuang's father was the vice-director of National Palace Museum in Taipei; under the influence of his family, he became a reserved and scholarly artist. From 1963 to 1973, he taught in the Department of Architecture at Tunghai University. He was awarded a grant from the John D. Rockefeller III Fund in 1966, which enabled him to study international contemporary art in the United States. Since then, Chuang has been living and working in New York. Chuang Che has devoted much time to the study of painting, accumulating vast knowledge concerning its theories and those of abstraction. His approach to abstract landscape paintings has been nature's outer appearance to ultimately the essence of physical world. Influenced by calligraphy, Chuang's lines, forms and compositions overflow with spiritual and intrepid momentum. He uses the brush to paint lyrical colors and spaces in a rhythmic and ecstatic manner. Compositions include organic drips and splashes of paint that impart his work with feelings of force, gravitas, and desolation create areas of hazy richness. Profound rhythms of drawing in and pushing out glide chaotically through his compositions, and open pathways that reveal the artist's genuine moments of epiphany.
Selected Solo Exhibitions: "Chuang Che Anniversary Solo Exhibition: As Lofty as a Mountain 1960-2019" (Asia Art Center, Taipei, 2020), "Effusive Vitality: CHUANG CHE Retrospective Exhibition" (Taipei Fine Arts Museum, Taipei, 2015), "Holistic View · Microscopic Vision" (Asia Art Center, Taipei, 2012), "Deep Ridge VS Remote Way" (National Art Museum of China, Beijing, 2007), "Chuang Che Solo Exhibition" (Asia Art Center, Taipei, 2006), "Taiwan Modern Art: 2005 Record of Kuandu Heroes" (Kuandu Museum of Fine Arts, Taipei National University of the Arts, Taipei, 2005), "Primal Form - An Exhibition of Chuang Che's Painting" (National Museum of History, Taipei, 2005)
Selected Group Exhibitions: "Zeitgeist: Abstract Art of Eastern Origin" (Asia Art Center, Beijing, 2019), "1960 - The Origin of Taiwan's Modern Art" (Asia Art Center, Taipei, 2016), "Pioneers of abstraction (1955-1985)" (The Museum of Ixelles, Belgium, 2017), "Spirit of the East II-Bridging" (Asia Art Center, Beijing, 2010)
Public Collections: Cleveland Museum of Art (USA), the Detroit Art Museum (USA), University of Michigan Museum of Art (USA), Shanghai Art Museum (Shanghai), CAFA Art Museum (Beijing), Hong Kong Art Museum (Hong Kong)
相关阅读
* 风林火山 - 源自东方的抽象 | 五月画会* 庄喆：统览 · 微观正在展出 Current Exhibition