我從20世紀80年代就開始思索關於「水墨如何可能？」的問題，我鎖定「歷史未盡之處」作為我關注與思考的重點。這個歷史是指在我之前已發生的古典或現代水墨史，我不是以傳承者自居，而是自許為探索者。在文化脈絡中提問與探索那被歷史忽略的、尚未被注意的面向。不斷地往更深的內部挖掘那更多的可能性。
我的研究歷程至今已40年，從最早在大學潛心研究傳統筆墨史與畫論史，到90年代摸索出自己的風格，最後在21世紀開始建立自己的理論體系。這一路以來的提問包含「什麼是筆墨？」、「什麼是山水畫？」、「現代水墨畫的優缺點？」、「何謂物性？」、「何謂真山水？」、「古典美學畫語的侷限？」、「中得心源的重新認識」、「歷史的空缺為何？」……，不斷地對提問議題的本質進行探索。
從不斷深掘形式與內容的研究中，重新思考水墨最本質的問題，而這些提問與研究最終也圍繞著對自我進行探問：「我為何要畫？」、「為何選擇這樣畫？」、「我將如何立身於彼？」、「我想說什麼不一樣的？」水墨有其歷史，我選擇直面這些歷史，但我不想被歷史所侷限，我想從其中找到不一樣的創作方向，結合我的思考與生命經驗，走一條屬於我的道路。
“What are the possibilities of Chinese ink art?” is a question that has dwelt on my mind since the 1980s, with my focus centered on where history did not avail. By history, I mean the classical and modern ink art that took place before my time. I do not claim to be a torchbearer for the legacy of Chinese ink art, but aspire to be an explorer who interrogates its cultural context and venture into uncharted terrain, in pursuit of ink art’s untapped potential.
Forty years have flown by since I first embarked on this research, which began when I was in university delving into the history of traditional Chinese ink art and painting theory, and gradually I started honing a style that would come to underpin a theory system of my own construct. Along this journey questions abound: What is brush and ink? What is shanshui painting? What are the merits and flaws of modern ink painting? What is object and character? What is authentic shanshui? What are the limitations of classical painting language? How do I reimagine the idea of “internal comprehension within the heart’s source”? What is absent from history? My practice aims to unravel the kernels of truth in these queries.
My decades-long investigation of form and content has allowed me to contemplate the core of ink art. My artistic inquiry and research eventually lead to questions for myself: Why do I paint? Why do I choose this approach? How do I validate myself through art? What do I intend to convey? I have made the choice to delve into ink art’s centuries-spanning history, with hopes of breaking away, breaking free. In seeking a different creative direction, combined with my thought and experience, I strive to forge a path of my own.
我的研究歷程至今已40年，從最早在大學潛心研究傳統筆墨史與畫論史，到90年代摸索出自己的風格，最後在21世紀開始建立自己的理論體系。這一路以來的提問包含「什麼是筆墨？」、「什麼是山水畫？」、「現代水墨畫的優缺點？」、「何謂物性？」、「何謂真山水？」、「古典美學畫語的侷限？」、「中得心源的重新認識」、「歷史的空缺為何？」……，不斷地對提問議題的本質進行探索。
從不斷深掘形式與內容的研究中，重新思考水墨最本質的問題，而這些提問與研究最終也圍繞著對自我進行探問：「我為何要畫？」、「為何選擇這樣畫？」、「我將如何立身於彼？」、「我想說什麼不一樣的？」水墨有其歷史，我選擇直面這些歷史，但我不想被歷史所侷限，我想從其中找到不一樣的創作方向，結合我的思考與生命經驗，走一條屬於我的道路。
“What are the possibilities of Chinese ink art?” is a question that has dwelt on my mind since the 1980s, with my focus centered on where history did not avail. By history, I mean the classical and modern ink art that took place before my time. I do not claim to be a torchbearer for the legacy of Chinese ink art, but aspire to be an explorer who interrogates its cultural context and venture into uncharted terrain, in pursuit of ink art’s untapped potential.
Forty years have flown by since I first embarked on this research, which began when I was in university delving into the history of traditional Chinese ink art and painting theory, and gradually I started honing a style that would come to underpin a theory system of my own construct. Along this journey questions abound: What is brush and ink? What is shanshui painting? What are the merits and flaws of modern ink painting? What is object and character? What is authentic shanshui? What are the limitations of classical painting language? How do I reimagine the idea of “internal comprehension within the heart’s source”? What is absent from history? My practice aims to unravel the kernels of truth in these queries.
My decades-long investigation of form and content has allowed me to contemplate the core of ink art. My artistic inquiry and research eventually lead to questions for myself: Why do I paint? Why do I choose this approach? How do I validate myself through art? What do I intend to convey? I have made the choice to delve into ink art’s centuries-spanning history, with hopes of breaking away, breaking free. In seeking a different creative direction, combined with my thought and experience, I strive to forge a path of my own.