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'Li Yi-Hong: Landscape Depiction and the Wandering Spirit', Published in Mi Nan Mei (No. 034), Journal of Tainan Art Museum (TAM).
〈李義弘的寫景暢神〉發表於臺南市美術館《覓南美》034期刊
2025/6
一、前言
從二十世紀四十年代渡海來臺的中國文人畫與嶺南派脈絡，加上原本清代留下的閩習水墨遺緒和日治時期留下的東洋膠彩畫，以及二十世紀中葉開始發展具有國際潮流意識的現代抽象水墨，七、八零年代強調本土主體意識的鄉土寫實水墨，臺灣二十世紀的書畫水墨風景可以說混搭著中國水墨、日本東洋風、美式抽象潮流與臺灣鄉土寫實的各種樣貌。
而1941年出生於臺南，成長於此混搭時代風潮且正值建構個人創作方向的李義弘，雖然選擇了追隨中國文人畫渡台代表溥心畬的弟子江兆申(前故宮院長)習畫，但從其堅持四處旅遊寫生，以臺灣鄉土景觀題材做為其繪畫表現路線來看，他與純然的中國文人畫路線仍然存在著差異，可以說，李義弘早中期的作品混合了中國文人畫書畫技術與本土鄉土寫實情懷，以此與其師承拉開了距離與建立個人鄉土文人畫風格。
而到了晚年，他似乎有意將自己原本的鄉土文人畫風格，參入年輕時曾接觸過但未選擇參與的現代抽象與實驗意識，以尋求更恢弘開闊的筆墨開拓，這一路以來的變化與發展，都可在其2022年4月至7月北美館的回顧大展看到動人的成果展現。而其從自然寫生的在地關懷，對臺灣景貌題材不斷地筆墨精進實踐，都使得他的山水畫作品向來既雜揉中國文人筆墨情趣，亦是臺灣風土意象的鮮明代表。
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從二十世紀四十年代渡海來臺的中國文人畫與嶺南派脈絡，加上原本清代留下的閩習水墨遺緒和日治時期留下的東洋膠彩畫，以及二十世紀中葉開始發展具有國際潮流意識的現代抽象水墨，七、八零年代強調本土主體意識的鄉土寫實水墨，臺灣二十世紀的書畫水墨風景可以說混搭著中國水墨、日本東洋風、美式抽象潮流與臺灣鄉土寫實的各種樣貌。
而1941年出生於臺南，成長於此混搭時代風潮且正值建構個人創作方向的李義弘，雖然選擇了追隨中國文人畫渡台代表溥心畬的弟子江兆申(前故宮院長)習畫，但從其堅持四處旅遊寫生，以臺灣鄉土景觀題材做為其繪畫表現路線來看，他與純然的中國文人畫路線仍然存在著差異，可以說，李義弘早中期的作品混合了中國文人畫書畫技術與本土鄉土寫實情懷，以此與其師承拉開了距離與建立個人鄉土文人畫風格。
而到了晚年，他似乎有意將自己原本的鄉土文人畫風格，參入年輕時曾接觸過但未選擇參與的現代抽象與實驗意識，以尋求更恢弘開闊的筆墨開拓，這一路以來的變化與發展，都可在其2022年4月至7月北美館的回顧大展看到動人的成果展現。而其從自然寫生的在地關懷，對臺灣景貌題材不斷地筆墨精進實踐，都使得他的山水畫作品向來既雜揉中國文人筆墨情趣，亦是臺灣風土意象的鮮明代表。
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'Internal Transformation: On the Female Consciousness of Contemporary Ink Works' at the international symposium "Has Ink Painting Ended? Reproducing the Spirit of Brush and Ink", co-organized by the Graduate Institute of Art History at National Taiwan University and Lion Art.
〈內動轉化：從形意變異看當代女性意識對水墨的陰性書寫〉發表於"水墨結束了嗎：再現筆墨精神國際水墨研討會"，臺北，臺灣。
2021
筆者認為到了二十一世紀，水墨變革應開始走向「形異意異」雙重變革之路，這條路徑雖已開始，但相對論述尚屬稀少，特別是以女性水墨畫家為對象的論述更是匱乏，筆者擬借本文試圖觀察幾位當代女性水墨畫家（包含筆者自身的創作），是否在「形異」之外也存在著不同程度的「意異」？
有別於「形異意同」的水墨變革，「形異意異」更著重在對於內在意涵進行變化，因此這涉及所謂「內動轉化」之特質。「內動轉化」之創作特質有以下幾點：
一、內：以包容古典與現代的表現手法，進入傳統文本內部；
二、動：更動傳統原有符號的意旨，使內在意義具有差異化；
三、轉：對女性自我主體的返身關注，使意涵詮釋內容轉向；
四、化：不受限既定語法，以女性意識書寫呈現當代語境化。
「內動轉化」的創作方式具有包容性，既不排斥傳統筆墨技法工具，又兼採現代水墨的革新作法，最重要的是，現當代女性自身主體意識的覺醒，使其不期然地帶有「陰性書寫」的特質進行形意俱變的水墨創作。以下將從「形異轉用」、「畫意之異」兩個角度，論述當代女性水墨創作者以「內動轉化」方式，置入女性意識所進行的「陰性書寫」。
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有別於「形異意同」的水墨變革，「形異意異」更著重在對於內在意涵進行變化，因此這涉及所謂「內動轉化」之特質。「內動轉化」之創作特質有以下幾點：
一、內：以包容古典與現代的表現手法，進入傳統文本內部；
二、動：更動傳統原有符號的意旨，使內在意義具有差異化；
三、轉：對女性自我主體的返身關注，使意涵詮釋內容轉向；
四、化：不受限既定語法，以女性意識書寫呈現當代語境化。
「內動轉化」的創作方式具有包容性，既不排斥傳統筆墨技法工具，又兼採現代水墨的革新作法，最重要的是，現當代女性自身主體意識的覺醒，使其不期然地帶有「陰性書寫」的特質進行形意俱變的水墨創作。以下將從「形異轉用」、「畫意之異」兩個角度，論述當代女性水墨創作者以「內動轉化」方式，置入女性意識所進行的「陰性書寫」。
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'THEY Shanshui: The Feminine Texture and Ambiguity in Contemporary Landscape Paintings in Taiwan', at the Annual Conference of the Taiwan Art History Association, Taipei, Taiwan.
〈類山水：從皴一探解嚴後臺灣當代山水畫的陰性語彙及其曖昧性〉發表於台灣藝術史研究學會學術研討會，台北，臺灣。
2018
When traditional forms of brush and ink no longer suffice as the basis for contemporary landscape painters to articulate their self-perception, how can landscape painting discover a new language to sustain its vitality? In the contemporary era, how do female landscape painters transform Cun (texture strokes) into a feminine vocabulary that diverges from the past?
Post-martial law Taiwan witnessed an influx of Western Postmodernist concepts and discourses. Although landscape painting remained a relatively conservative genre, some contemporary painters yearned for change, gradually influenced by the Postmodernist ideals of "deconstruction" and "reconstruction." Since the millennium, a landscape style distinctly different from the pre-martial law era has emerged. Through fractal patterns, deformation, pastiche, appropriation, and even schematization, these artists engage in creation characterized by deconstructive qualities. Notably, contemporary female landscape painters consciously deconstruct the established ideological order of landscape painting, inserting their internal "aggregates of sensation" (blocs de sensations) and embedding heterogeneous elements through a uniquely feminine language. By transcending the theoretical frameworks and formal barriers of the traditional patriarchal discourse—historically dominated by male painters—their work becomes difficult to decipher through conventional systems of art criticism. It is precisely this resistance to established interpretation that prevents these distinct contemporary styles from being categorized under existing types, such as the "Trans-strait Literati Landscape," "Realistic Landscape," or "Abstract Landscape." Consequently, the author proposes a new term for this phenomenon: "THEY Shanshui."
Research on the "THEY Shanshui" developed by post-martial law female landscape painters remains scarce. As a long-term researcher and practitioner of landscape painting, the author seeks to offer insights through this article. Focusing on Cun (texture strokes), this study employs Postmodernist concepts such as "semiotic deconstruction," "body consciousness," and "pluralistic difference" as research methods. Referencing perspectives from self-aware "feminine writing" (écriture féminine) and Gilles Deleuze’s "logic of sensation," the paper analyzes the definition of a "feminine" vocabulary and identifies which forms of Cun embody these qualities. Furthermore, it discusses how contemporary female landscape painters in Taiwan reposition Cun-based brushwork toward divergent semiotic resets, infusing them with new interpretations and aesthetic references. By re-encoding landscape symbols that were originally naturalistic, these artists generate a sense of corporeality and heterogeneity. This process allows the formal significance of the work to escape traditional discourse and move toward the ambiguous vocabulary of "THEY Shanshui," ultimately unfolding a contemporary language of redefinition and pluralistic ambiguity for post-martial law Taiwanese landscape painting.
當傳統的筆墨形式無法作為當代山水畫家言說自我感知的依據時，山水畫如何尋找另一種新的語言繼續它的生命？在當代，女性山水畫家如何透過皴法轉化出異於過往的陰性語彙？
解嚴後的臺灣，開始接收大量西方「後現代主義」的觀念與論述，山水畫雖然作為相對保守的繪畫類型，但是某些當代山水畫家卻也渴求于變，漸受到後現代主義「解構」與「重構」思想的影響。在千禧年之後，慢慢發展出迥異於解嚴前的山水畫樣貌，透過碎形、型變、諧仿、挪用甚至圖式化的方式，對山水畫進行具有「解構」特質的創作。特別是當代女性山水畫家有意識地解構原有山水畫的思想秩序，置入畫家個人內在之「感覺團塊」，並且透過女性特質的語言進行異質性的嵌入，跳脫於過往以男性畫家為主的父系法則所書寫的畫論理路與形式藩籬，使其山水畫樣貌難以被舊有的畫論體系所解讀。正是此種難以被既定論述解讀的特質，使此類差異的當代山水畫樣式無法被歸類於既有的渡海式文人山水、寫實山水以及抽象山水類型之中，因此，筆者特新創名詞，稱之為「類山水」。
目前針對解嚴後女性山水畫家所發展的「類山水」類型作品所做的研究尚屬缺乏，筆者作為長期以山水畫創作的研究者，試圖藉此文提供一隅心得。本文將以「皴」為研究重點，從「後現代主義」所強調的「符號解構」、「身體意識」、「多元差異」等概念作為研究方法，借帶有女性自覺的「陰性書寫」以及德勒茲的「感覺邏輯」等觀點作為參照路徑，分析何謂「陰性」語彙，以及何種形態的「皴」具有「陰性語彙」特質，並論及臺灣當代女性山水畫家如何將「皴」形筆墨朝向差異的符碼重置，以置入新的詮釋內容與審美指涉，將原本作為自然性的山水符號進行再編碼，製造身體感與異質化，使其在形式意涵上逸出傳統既定論述範疇，朝向曖昧性的「類山水」語彙，開展出解嚴後臺灣當代山水畫重新定義與多元歧意的時代語言。
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Post-martial law Taiwan witnessed an influx of Western Postmodernist concepts and discourses. Although landscape painting remained a relatively conservative genre, some contemporary painters yearned for change, gradually influenced by the Postmodernist ideals of "deconstruction" and "reconstruction." Since the millennium, a landscape style distinctly different from the pre-martial law era has emerged. Through fractal patterns, deformation, pastiche, appropriation, and even schematization, these artists engage in creation characterized by deconstructive qualities. Notably, contemporary female landscape painters consciously deconstruct the established ideological order of landscape painting, inserting their internal "aggregates of sensation" (blocs de sensations) and embedding heterogeneous elements through a uniquely feminine language. By transcending the theoretical frameworks and formal barriers of the traditional patriarchal discourse—historically dominated by male painters—their work becomes difficult to decipher through conventional systems of art criticism. It is precisely this resistance to established interpretation that prevents these distinct contemporary styles from being categorized under existing types, such as the "Trans-strait Literati Landscape," "Realistic Landscape," or "Abstract Landscape." Consequently, the author proposes a new term for this phenomenon: "THEY Shanshui."
Research on the "THEY Shanshui" developed by post-martial law female landscape painters remains scarce. As a long-term researcher and practitioner of landscape painting, the author seeks to offer insights through this article. Focusing on Cun (texture strokes), this study employs Postmodernist concepts such as "semiotic deconstruction," "body consciousness," and "pluralistic difference" as research methods. Referencing perspectives from self-aware "feminine writing" (écriture féminine) and Gilles Deleuze’s "logic of sensation," the paper analyzes the definition of a "feminine" vocabulary and identifies which forms of Cun embody these qualities. Furthermore, it discusses how contemporary female landscape painters in Taiwan reposition Cun-based brushwork toward divergent semiotic resets, infusing them with new interpretations and aesthetic references. By re-encoding landscape symbols that were originally naturalistic, these artists generate a sense of corporeality and heterogeneity. This process allows the formal significance of the work to escape traditional discourse and move toward the ambiguous vocabulary of "THEY Shanshui," ultimately unfolding a contemporary language of redefinition and pluralistic ambiguity for post-martial law Taiwanese landscape painting.
當傳統的筆墨形式無法作為當代山水畫家言說自我感知的依據時，山水畫如何尋找另一種新的語言繼續它的生命？在當代，女性山水畫家如何透過皴法轉化出異於過往的陰性語彙？
解嚴後的臺灣，開始接收大量西方「後現代主義」的觀念與論述，山水畫雖然作為相對保守的繪畫類型，但是某些當代山水畫家卻也渴求于變，漸受到後現代主義「解構」與「重構」思想的影響。在千禧年之後，慢慢發展出迥異於解嚴前的山水畫樣貌，透過碎形、型變、諧仿、挪用甚至圖式化的方式，對山水畫進行具有「解構」特質的創作。特別是當代女性山水畫家有意識地解構原有山水畫的思想秩序，置入畫家個人內在之「感覺團塊」，並且透過女性特質的語言進行異質性的嵌入，跳脫於過往以男性畫家為主的父系法則所書寫的畫論理路與形式藩籬，使其山水畫樣貌難以被舊有的畫論體系所解讀。正是此種難以被既定論述解讀的特質，使此類差異的當代山水畫樣式無法被歸類於既有的渡海式文人山水、寫實山水以及抽象山水類型之中，因此，筆者特新創名詞，稱之為「類山水」。
目前針對解嚴後女性山水畫家所發展的「類山水」類型作品所做的研究尚屬缺乏，筆者作為長期以山水畫創作的研究者，試圖藉此文提供一隅心得。本文將以「皴」為研究重點，從「後現代主義」所強調的「符號解構」、「身體意識」、「多元差異」等概念作為研究方法，借帶有女性自覺的「陰性書寫」以及德勒茲的「感覺邏輯」等觀點作為參照路徑，分析何謂「陰性」語彙，以及何種形態的「皴」具有「陰性語彙」特質，並論及臺灣當代女性山水畫家如何將「皴」形筆墨朝向差異的符碼重置，以置入新的詮釋內容與審美指涉，將原本作為自然性的山水符號進行再編碼，製造身體感與異質化，使其在形式意涵上逸出傳統既定論述範疇，朝向曖昧性的「類山水」語彙，開展出解嚴後臺灣當代山水畫重新定義與多元歧意的時代語言。
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'The Duality of Charred Ink and Arranged Dot-Texture: Inheritance and Transformation in Chang Kuang-pin’s Late Charred-Ink Landscapes (2005–)' Published in the Journal of Artistic Studies, Vol. 6, No. 1, National University of Tainan.
〈焦墨排點皴的雙重性：張光賓晚期(2005-)焦墨山水的傳承與變革〉，發表于台南大學「藝術研究學報」第6卷第1期。
2013/4
This article primarily focuses on the "Charcoal-Ink Point-Array Cun" (Jiaomo Paidian Cun) created by Chang Kuang-pin since 2005, exploring the inherent transformations hidden within works that appear traditional on the surface. His paintings embody a duality: both the inheritance and the subversion of the aesthetic ideology of the Literati painting system. Beginning with a textual analysis of the "point" as a Cun (texture stroke) method, this study elucidates how Chang’s "Charcoal-Ink Point-Array Cun" inherits the tradition of "calligraphy into painting" while simultaneously achieving a radical breakthrough. Key innovations include: Reversing the role of the "point" from a subordinate element to the primary protagonist; Deconstructing the traditional linear Cun system by accumulating points to form lines; Altering the traditional dualistic aesthetics of ink by eliminating water, color, and washes; Replacing multi-layered, scattered washes with single-layered, arranged ink points; Challenging traditional Literati tastes through "homogeneity" in both brushwork and composition. Through a comparative analysis of aesthetic theories and iconography between traditional and contemporary works, this article illustrates Chang’s creative path of internal reform within tradition. This duality—of using the ancient to innovate—provides a creative model of simultaneous deconstruction and reconstruction for the contemporary transformation of traditional landscape painting.
本文主要聚焦於張光賓自2005年以後所創之「焦墨排點皴」作為論述重點，探討看似傳統的作品裡所隱藏的內在變革。其畫作實踐了對文人畫體系此一傳統繪畫美學思維的繼承與顛覆的雙重性。從「點」皴法的文本分析切入，說明張光賓「焦墨排點皴」承襲書法入畫的傳統，卻又完成的變革，例如將「點」從配角的位置反轉到主角；以積點成線的皴法解構傳統線皴系統；以去水、去色、去染改變傳統用墨對偶美學觀；一改層疊聚散渲染為單層排列墨點；以「均質性」挑戰傳統文人品味等筆墨與構圖的變革成就。透過與傳統和當代作品的美學理論及圖像比較，說明其皴形在傳統內部變革的創作路徑，此以古為新的雙重性乃對傳統山水畫的當代轉化提供一種既解構又重構的創作模態。
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本文主要聚焦於張光賓自2005年以後所創之「焦墨排點皴」作為論述重點，探討看似傳統的作品裡所隱藏的內在變革。其畫作實踐了對文人畫體系此一傳統繪畫美學思維的繼承與顛覆的雙重性。從「點」皴法的文本分析切入，說明張光賓「焦墨排點皴」承襲書法入畫的傳統，卻又完成的變革，例如將「點」從配角的位置反轉到主角；以積點成線的皴法解構傳統線皴系統；以去水、去色、去染改變傳統用墨對偶美學觀；一改層疊聚散渲染為單層排列墨點；以「均質性」挑戰傳統文人品味等筆墨與構圖的變革成就。透過與傳統和當代作品的美學理論及圖像比較，說明其皴形在傳統內部變革的創作路徑，此以古為新的雙重性乃對傳統山水畫的當代轉化提供一種既解構又重構的創作模態。
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