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袁慧莉創作簡述
內在情緒是抽象的，將抽象的情緒透過點線面表現為另類的皴，我的類山水看似山水畫，實則是抽象畫。 中國傳統山水畫一向由男性建構帶有指涉自然的形意系統，但我以女性意識與情感自創類山水系列，藉此重新建構一套有別於中國傳統山水畫的袁氏皴譜形意語法。 中國傳統山水畫的皴法向來以表現自然性與山石表面肌理為形意法則，此一概念從未被翻轉改變過。傳統皴法作為一種陽剛、建構性的地貌肌理描繪，遵循著明確的結構與秩序。然而，我透過將其轉向對內在情緒的指涉，使其脫離了純粹的客觀再現，轉而擁抱更為流動、非線性、甚至帶有私密性和潛意識的表達。 我以身為女性的情感出發建立袁氏皴譜，取代了由男性創造與定義的古典皴法系譜，例如，袁氏皴譜裡的『淚點皴』取代了古典的『雨點皴』，『淚點皴』不再描繪山石外在雨痕沖刷的肌理，而是旨在表達內在的、流動的情緒，如同淚水般，帶有深層的感性與私密性。 這顛覆了傳統的界線，讓觀者感受到山水畫不再僅是指向自然外在的山石敘事，而是走向內在更深沉的抽象情感世界。袁氏皴譜奠基於類山水系列進行皴法的圖文系譜歸納條列，如同《芥子園畫譜》對歷代山水畫的歸納整理，而類山水則是結構化的袁氏皴法。它超越了傳統「皴法」側重描述和再現的「陽剛」特質，轉而成為承載內在體驗、觸及靈魂深處的非線性表達。這就是我所強調的『陰性語法』在技法層面的具體呈現。 正是此『陰性語法』的建構，它挑戰了傳統山水畫中理性、秩序的視覺邏輯，轉而探索一種更為感性、直覺、與觀者內心對話的藝術語言。這不僅是對皴法定義的革新，更是對山水畫美學和表現性的一種重新詮釋與定義，以『陰性書寫』去重塑皴法與心靈的連結。 我認為皴法在歷史上不僅僅只是自然物象的外在肌理模擬筆法，其實也藉由皴法結構建構出家法派系的宗法系譜，而由皴法與結構之間的關係又延伸出宣示主體政治的隱喻與象徵，因此皴法的符號系統，並非單純作為造型語言指向自然山水，同時也具有主體意識指涉主觀賦喻與時代語境。 我創作袁氏皴譜，彰顯身為女性主體所欲傳達的當代山水畫時代語境的隱喻，既是女性情感投射的內在世界樣貌，也折射著對當代政治時代語境的揭露，以袁氏的內在性皴法建構類山水結構，打破傳統山水畫追求一致性皴法的整體結構美學觀，而是另立差異性的結構美學，將不同的皴法造型並置，形成非一致性、非連續性的斷裂感，由此，象徵多元民主、眾聲雜沓的世界圖像。 
The Teardrop Stroke
These ink dots that sprinkle like rain Are in truth teardrops. A debt of love as vast as mountains and oceans Can only be repaid with sobs. |
Statement by YUAN Hui-Li
Inner emotions are inherently abstract. I express these abstract feelings through dots, lines, and planes, transforming them into an alternative form of cun. My THEY Shanshui(類山水) works look like landscape paintings but are in fact abstract. Traditionally, Chinese landscape painting has been a male-dominated field, establishing a system of forms and ideas that interpret the external natural world, but I've used my female consciousness and emotion, created the THEY Shanshui(類山水) series. Through this, I've re-established a set of textual and conceptual syntax for Manual of Yuan's Texturizing Strokes袁氏皴譜 that differs from traditional Chinese landscape painting. Traditionally, the cunfa in Chinese landscape painting has always followed the principle of representing natural elements and the surface texture of rocks. This concept has never been challenged or changed. Traditional 'cunfa,' in its role as a masculine, structured way to depict landforms, followed strict order and organization. But by shifting its focus to express inner emotions, I'm moving it beyond mere objective portrayal, embracing a more fluid, non-linear, and even intimate, subconscious form of expression. The Manual of Yuan's Texturizing Strokes that I established, originating from my feelings as a woman, replaces the classical cunfa lineage created and defined by men in the past. For example, the "The teardrop stroke" in "Manual of Yuan's Texturizing Strokes" replaces the classical "The raindrop stroke." The teardrop stroke" no longer depicts the external texture of rocks eroded by rain. Instead, it aims to express internal, flowing emotions, much like tears, carrying deep sensibility and intimacy. This subverts traditional boundaries, allowing viewers to feel that landscape painting no longer merely points to external narratives of nature and mountains, but moves towards a deeper, more abstract emotional world within. The Manual of Yuan's Texturizing Strokes systematically categorizes and outlines the 'cunfa' (texture strokes) within the THEY Shanshui series, much like the Mustard Seed Garden Manual of Painting (芥子園畫譜) compiled and organized historical landscape painting techniques. In essence, THEY Shanshui represents the structured application of Yuan's cunfa. It moves beyond the 'masculine' quality of traditional 'cunfa' that focuses on description and representation, becoming instead a nonlinear expression that carries inner experience and touches the depths of the soul. This precisely embodies the 'feminine grammar' I emphasize at the technical level. That means the 'feminine codes’ is approach challenges the rational, structured visual rules of traditional landscape painting, instead seeking an artistic language that is more sensual, intuitive, and deeply connects with the viewer's inner world. It's not just a new definition for 'cunfa,' but a complete redefinition of landscape painting's aesthetics and potential, viewing and remaking the link between 'cunfa' and the mind through a more 'feminine writing' lens. I believe that 'cunfa' in history is not merely a brushstroke technique for simulating the external textures of natural objects. In reality, the shaping and construction of 'cunfa' also constructs a patriarchal lineage of family styles and schools. Furthermore, the relationship between 'cunfa' and structure extends to convey metaphors and symbols of subjective political declarations. Therefore, the symbolic system of 'cunfa' does not simply serve as a formal language pointing to natural landscapes; it simultaneously possesses subjective consciousness referring to subjective metaphorical and the context of its time. Through the creation of my Manual of Yuan's Texturizing Strokes, I aim to convey a metaphor for the contemporary context of landscape painting as a female subject. This work not only embodies the inner world shaped by female emotional projection but also reflects my exposure of the contemporary political landscape. I construct THEY Shanshui structures using my internalized cunfa (texturizing strokes), which challenges the traditional landscape painting's aesthetic pursuit of a unified and consistent overall structure. Instead, I establish an alternative aesthetic of difference in structure. By juxtaposing diverse cunfa forms, I create a sense of inconsistency and discontinuity. This, in turn, symbolizes a diverse, democratic world image with a cacophony of voices. |
Key Words：
Abstract, Feminine writing陰性書寫, The Text combining form and meaning of cunfa (texture strokes)皴法形意文本, THEY Shanshui類山水, Manual of Yuan's Texturizing Strokesm袁氏皴譜, Mustard Seed Garden Manual of Painting 芥子園畫譜, Shanshui painting (Chinese Landscape painting)中國山水畫
Abstract, Feminine writing陰性書寫, The Text combining form and meaning of cunfa (texture strokes)皴法形意文本, THEY Shanshui類山水, Manual of Yuan's Texturizing Strokesm袁氏皴譜, Mustard Seed Garden Manual of Painting 芥子園畫譜, Shanshui painting (Chinese Landscape painting)中國山水畫
