說畫
—-北美館「時光的刻痕」展覽目錄 1988
對我而言，一幅畫不單是用眼睛來看，更重要的是用心去體悟。
觀者必須去思索可見的物象背後不可見的意涵。
我的作品不是牆上的花，也不是畫出來說明什麼，只是用它來
喚起 ── 喚起無窮無盡的經驗、激盪思想。而後，由您去完成
一件完全屬於您自己的「作品」。
每每思緒澎湃，擬將沉聚的塊疊傾吐畫布之上，我終於尋得一塊可以安置自我情緒的空間。
曾想構築大山大水
但，祖國山河無憑追憶
因此，
深深凝睇：
一具銷耗的石磨
一方破敗的墓碑
斷坦殘壁
落葉飄零
………..
不覺泫然涕下
一幕幕
塗炭奔命
喪亂流離
飄泊羈旅
……….
滿載著淒蒼深沉的幽思
一刀一筆的述說
中國歷史漫漫長夜中熔鑄的萬古悲愁與寃曲
沒有人能，也不必去解釋長城的石塊。
你只能用感覺去「看」那血淚浸漬的斑剝。
一些形色都彷彿是被時間與氣候偶然創造出來的。製作中，我只是用一種虔敬的心來為時間作見證。近於完成時，我帶著「著魔般的激情」將大量的顏料快速的厚塗、堆砌、噴灑、擦刮。有若抖落萬千的塵埃，經歷萬古的積淀以及風雨刻劃不滅的噬痕。
亙古以來，一切都受時間的轄御。人，無限時空中瞬間的過客，無論尊卑，終將同歸寂滅。
一個智者，一旦體悟到時間的本質，就只有翕然臣服。
—-年德國慕尼黑Kunstblock畫廊展覽目錄 1989
當一個承襲了中國傳統的畫家採用了西方的創作媒材及風格時，他註定了將面對無盡的精神掙扎。數千年偉大傳統的畫家們，形成了一道無法超越的障礙，既有的形式更有如一紙無終期的契約，後學者似乎只有跟隨那群如影隨形的幽靈。難道一定要遵循那些既有的形式嗎？若是，則藝術將變成一種技術的模仿。該放棄傳統嗎？若是，又好像要變成無根的孤兒！回顧歷史上有許多西方的大師也從中國書法中取得養分，但他們的作品仍呈現出十足的「西方」。難道當我們用了西方的媒材，就被宣判是侼離了傳統嗎？雖然諸多問題一時無法釐清，但我仍是堅持不被限制在某單一的領域中。終於，我發現重點不在於形式。藝術應該植根於精神，是一種由內而外的開展。中國的經典著作所散發出的藝術自由精神與「合天」的成熟智慧，早已有明確的指向。同時，藝術也應在更深更廣的土壤中汲取優質的養分，這些養分廣泛存在於文學、音樂……..等不同面向的學門中。
如同所有的初學者，我曾學習傳統的技法，一種有如數學恆等式般「由眼而心而手」的技巧，亦即一種解決如何精確的將三度空間轉化為二度空間的方法。此時的媒材大多是以炭筆及水彩繪於紙上。之後，不可避免的受到了梵谷、馬蒂斯、畢卡索等大師的影響。至此，我發現那個恆等式已不再存在，「心」的作用扮演了更重要的角色。此後的作品有了明顯的變化：自然的景物改變了。接著注入的是西方古典音樂、中國詩詞。由於克利和趙無極的影響，我開始了抽象的創作，此時，我所刻意強調的是結構、色調及筆觸的質感。但是，正得意於「手」的順暢時，我發現到「心」正慢慢的停滯。這是一個可怕的現象──所思所想正朝一個固定的模式趨附。
1980－81年間，我開始對所謂的「創造力」有所質疑（請參閱「我的創作觀」）。是年，我退出了全國油畫學會，而開始了更有系統的鑽研中國美學。基於對創造力的否定，我的繪畫轉向了自動性技法。為了達到全然的「自動」，我採用了流質的不飽和聚酯樹脂，摻和了如二氧化鈦、鉻黃、氧化鐵等無機顏料作為主要的素材。開始時，我將木板任意放置地上，然後（在黑暗中）盲目地將各種加入硬化劑的顏料傾倒其上。次日當顏料硬化後，就將不滿意的部分用白色覆蓋。經過多次如是的「篩選」直到滿意的「畫面」出現為止。
1983年在持續自動性的方法之外，我開始運用新的媒材。其主要的目的是藉此去發現材質最精純而無可取代之美。嚴格地說，自古以來沒有畫家能完美的詮釋自然，但是，若能對所謂第二自然的媒材作合宜的處理，也能某種程度的達到「天人合一」的要求吧！
——-於移居金瓜石之後
隱乎？顯乎？
畫布上，前日甫上的油彩以半溼的無所謂，迎接夏末晨間第一道陽光。在靜謐清寧的安詳中，我輕啜一口遺世的簡樸之喜，滿心盪，興奮揭開又是料彩昂揚的一天。
幾年來，親自開啓信箱收取各地寄來的藝訊之習慣，點點滴滴地為這孤單的繪畫生活裁縫出一方温暖繽紛的個人天地。人籟斷去，從子夜第一聲星嘆至午時草葉酣憇吟哦，我聽到了大自然山川鳥石的音息和自已血液中蓄勢將發的揮灑衝動。近乎自發的需求也像極按捺不住的激情讓我「義無反顧」地振筆急釋。釋力既盡，要說的、要做的全由刀鋒、筆尖傾巢而出。不知其誰，卻見俯拾皆我，猛然了悟那只是自己日日夜夜的尺幅心潮。狂野終了，我著實分享了專注的純粹與任流的漫妙。當心無旁騖於各種外在目的時，那種近乎絕對的精純，確切地解放了藝術心靈的自由本性。存在的似乎只有面對畫布抖動的心脈和奪筆而出的意念(或許是先意識的) ，深深攫獲一双靈視之眼。單純的專注，偶然印證了康德的藝術之「無目的之目的性」，儘管片面，仍足鼓舞這一双可能軟弱的手。
數年前，當東區的市招如癌般向四周漫延時，我倉忙踢掉延吉街的新穢，走向田園桑麻。日子裡，起居瑣事飲食修繕，樣樣自理，風雨陰晴節氣變化尤為切身。規律如鐘擺般的粗活，任身體幾無一日不帶傷彩。但，儘管疲憊若此，每當夜氣正濃，點點繁星沐耀之時，心靈卻更覺朗澈澄淨，精神的滿足無以言喻。這樣的拓落，無疑是出了人間世而入了有情界，不只是個「采菊東籬下」的仙道遁隱，更是個「坐看雲起時」大死一回的再生。看似消極，實乃積極，面似封閉(往內裡) ，體乃開放(藝心之自由本質) 。誰道放逐的不過一種閒情逸緻而非更久遠的生命憂慮？天心，地心，自然心，有情心，既非閒居，即無隳褪。於此，獨處漠野，隱不隱亦或顯不顯，則如人飲水，冷暖自知了。
1991, 冬
—–於北美館「時光的刻痕」個展後
孤寂是最好的導師
他使每一個接近他的人心靈偉大
孤寂是希聲的大音
他震撼每一個渾噩的靈
孤寂是水
他滌淨每一顆污濁的心
孤寂是火
他解開所有困阨的結
孤寂是燈
他照亮人心每一處陰暗的角落
孤寂是詩
他在每一片空白上播種、澆灌
孤寂是最好的調和劑
他使眾多美好無言的契合
孤寂是最好的朋友
當所有人都離開時， 他就來了
—於珍傳畫廊「時光的詩趣」展覽前 1992
1989年5月在慕尼黑， 某天早晨我原本是計劃要到Linbhaus去看康汀斯基的展覽。 結果卻誤打誤撞的進了一棟老建築物。 其中有一個展覽室， 陳列了許多石雕頭像。 有好些已經是五官殘缺不全了。 它們都被安置在等身高的方柱上。 繞行其間有點像是走在人群裡。 晨光透過中庭樹林的枝葉間照射進來。 氣氛很靜很寧靜。 凝神之中， 那些面孔的表情彷彿生動起來。於是 一種深沉的心靈悸動開始了。 綿密而強韌的震撼衝擠過來幾乎使我不勝負荷。 在一個窗台上我坐了下來， 也開始思索這種從未有過的感受。 那股藝術品內在豐沛生命的奔流是如此的清晰而純粹。 說它純粹是因為這種感動是來自一群不知名的作者。 設若當時是站在米開蘭基羅的作品前面， 那感動是無法分辨是否摻雜著緣於背景知識所引發的崇敬。 我立起身來興奮的告訴自己：「以物質形態呈現的作品可以承載著作者不朽的精神。」 基於這種肯定， 人生的有限就不成其為悲觀的理由。 由此， 我的時間觀就進入了〝時光的詩趣〞階段。 同時也在自我期許的陶然中一腳踢翻了那個黑色的顏料筒。 作品中開始點染著明燦的希望之光。
—於珍傳畫廊「時光的省思」展覽前 1994
在語言、心靈與實在結構的人世間
我企圖
以深省的靈魂潛伏於形式所不能及的愉悅實體
預支
以沉思之「能」契引澈悟之「所」的超越。
—「重返伊甸」展覽目錄:
於99度藝術中心 2004
離開伊甸，人類的心靈永遠流浪。
過去，殷切想望伊甸，也曾企圖自力營建。但慘澹耕耘之後，所得的竟是滿園苦毒的花樹。雖是如此，我始終確信伊甸仍在，只是去路阻斷而已。近年來親身的體驗是：只有確實的經歷一場「靈命的更生」才得悠遊其中。這一系列的作品不作神學的探究，也不是美學的寫景。它是純信仰的表白和出自心靈的頌歌。
—-「重返伊甸-生命河」展覽目錄 於99度藝術中心( 2005)
「生命河」不單是寫景更重的是表達了對聲音的感受。那河不斷的帶著永不止息的愛對人類發聲呼喚。創世紀記載伊甸園中有四道河在其中提供了物質生命之所需。只是在亞當犯罪之後人類的屬靈生命枯死這些豐沛的河水再也不能救贖。在約翰福音第七章37,38節中記載了耶穌的一段話：「人若渴了，可以到我這裏來喝。信我的人就如經上所說，從他腹中要流出活水的江河來。」
「生命河」中所要表達的就是這種「因信稱義並受聖靈」的平安與豐盛。
—-重返伊甸-榮光(2006-2007)
相對於生命河的慈愛，這是我對上帝認識的另一面—–公義。那是讓人震懾的。就如哈巴谷3:3-4所說﹕「衪的榮光遮蔽諸天 頌讚充滿大地 衪的輝煌如日光從衪手裡射出光線 在其中藏著衪的能力」。對我而言，這光絕對不等同於「脚前的燈與路上的光」。衪的榮光充滿萬有讓罪惡無所遁形。是猛烈如火的、是毫不寬容的。就如同摩西在何烈山之所見。當時伴隨的是堅定如石的律法—就是審判。
—-「生命本質的流變」展覽目錄: 於大古畫廊 (2006)
【代跋】
亞當被放逐後的第二個秋天，耶和華神思念那人。
祂來到了伊甸在園中行走。驀地，荊棘抓住了祂的白袍…。
「你要什麼？」神問
「我不願再背負咒詛的惡名而想成為人的祝福！」荊棘懇求著
耶和華神沈吟少時…。之後，祂想起了天庭的玫瑰花。祂答應了！
隨後玫瑰花被接枝在荊棘之上。
神看著是好的！
「我主！這些刺呢？」玫瑰問道
「我留著它是作為對你時刻的提醒！
回首這大半生彷彿是由荊棘而成玫瑰的過程。
我的作品也相當的記錄了這個流變：
由暗昧而亮麗，由悲愁而喜樂…。
願以這次完整的系列呈現與觀眾分享我的成長與信仰。
Face Book: 二殘療養院 https://www.facebook.com/ErCanLiaoYangYuan?ref=hl
Artist’ statements:
—-Before the exhibition held at Fine Art Museum of Taipei (1988)
To me, a painting is to be seen not only with the eyes but with the heart as well; one must think about the unobservable things behind the observable subjects.
I do not paint to decorate walls, nor do I paint to say anything. Art is a medium to provoke recall—– recollection of unlimited experiences. It is a medium to inspire thought —- thought which allows one to complete something entirely his own.
Each time when I was filled with emotions, it overwhelmed me like the imposing waves which sweeping over the shore, and I eagerly put it down on the canvas to ease my soul.
At one point, I wanted to paint scenery, but, without the experience of having seen the great rivers and mountains of my homeland, I can but stare upon a worn-out grindstone, a fragment of an old tombstone, the cornerstone of a house long destroyed, a falling leaf with no place to rest,…….
Unconsciously, the tears well up in my eyes.
As one scene ends, the next begins.
An exhausting life of non-stop movement leads finally to death and the ultimate departure. Life is simply swift wanderings.
No one would bother trying to explain the stones of the Great Wall. One must see with his heart the tracks of blood, sweat, and tears that run through its structure.
In my works, certain shapes and colors were created as if by time and climate. I brought forth the hearty reverence to bear witness for time. Short before completion, I was possessed by passions and applied big amounts of pigment by pasting, laying, spraying, and wiping on it as though the indelible tracks were dusted with faraway past and cut by time.
Since time immemorial, all existences were dominated by time. Man is nothing but a transit passenger of the universe. Regardless of social rank they finally return to sheer extinction.
Once a wise man comes to comprehend the essence of time, he must willingly succumb to his Master.
—-Before the exhibition held at Gallery Kunstblock, Munich (1989)
When a painter inherited the tradition of China and decided to employ the western style to create his art, he will inevitably encounter an endless spiritual struggle.
Thousands of years of great tradition, with which many painters are loaded with, turns out to be an obstacle that cannot be passed over. The existing forms are like an endless contract and a ghost-like shadow.
Must one inherit the old conventions? If yes, art is simply a skill of endless copying! Or one should abandon the tradition entirely? If yes, he possibly becomes a rootless orphan. A great many western masters were influenced by Chinese calligraphy while their works are still totally western style. Is it true that once we use the western media then we are thought to be an outcast from our tradition?
Though I am not restricted to any particular narrow territory, it is still necessary for me to find out where the problem lies. I finally discovered that diversity is not caused by form. Rather, art is rooted in spirit internally and the spirit dominated all. The liberal spirit of art and the harmonically mature wisdom of nature have inspired many from Chinese classics.
Art should be rooted in the deeper and wider soils of literature, music, ethics, and other dimensions of culture. They are also like an unceasing stream to supply all kinds of nutrition richly.
—-A lecture given by Lin May Yeh Art Gallery, Victoria (2002)
Starting from the year 1961, I learned the conventional skills to make the “eye-to-mind-to-hand” process accurately like a mathematic equality. Charcoal, water colors, and paper were the main media at this time. This period lasts about 3 years. Then I was influenced by Van Gogh, Henri Matisse and Pablo Picasso. As a result, the above equality-like process no longer existed. In this stage, mind played a more important role and scenes of nature in my works changed.
In 1972, I encountered some abstract works of Paul Klee and Zao Wou-Ki and I was deeply caught by abstracts. I created many works with the enlightenment of classical music and Chinese poetry. In addition to the artistic profundity, those paintings also emphasized composition, tone and brushstroke. In the following 10 years, I enjoyed the unconstraint thoroughly. But with the skillful of hands, the action of mind turned to idleness and a serious plight was awaited. In order to get away from it, I have tried a totally different geometric style in which materials such as: linen, acrylic panel and paper were employed. This intention turned out to be a failure and I finally realized that the geometric style is not my proper choice. After that I stop painting for about 3 years for reflection..
On an occasion of artists’ meeting in 1982, I was astonished by a lecture concerning an ignorant boast of “creative power.” On my way home, I started to think about it earnestly, In order to learn more about creation, I read Genesis and found out that there exists big difference between CREATE(in Hebrew: Bara ) and MAKE(in Hebrew: Asa). Strictly speaking, there is no creative power in mankind and the only ability we have is simply “Discovery.” With this insight in mind, my painting process changed into spontaneous automatism. I employed fluid polyester resin to mix with various inorganic pigments, such as titanium dioxide, chromium trioxide, and ferric oxide to obtain primary colors. When the colored resin had been added with hardener, I poured it blindly on boards that were previously positioned at random. On the next day when I came into my studio, I observed the outcome that had been produced. Then I covered the unsatisfied findings by white color and remained the others. Such process was repeated again and again until an aimless work was accomplished with satisfaction. At that moment, I really experienced the joy of drawing water from wells of salvation that mentions in Isaiah 12:3.
In terms of FORM, the discovery series could be pushed into a blind alley. For accompanied with the joy of complete freedom, a quandary of uncertainty was awaited. After a research of the Post-Paintly Abstraction, I took up part of its valuable idea—–to parallel the MATERIALS with the NATURE. In a sense, if the media can be perfectly expressed, it portrays well of the SECOND NATURE. With this understanding, the Chinese traditional spirit of RESPECTING NATURE WITH INTROSPECTION AND ADJUSTING TO NATURE IN HARMONY was then attained. Afterward the upset of disconnection with the nature was eliminated from my mind. So, I labeled it as: Objects Exploring Series.
—-Before the exhibition of “Gaze into Life—Returning”
Held at Elliott Louis Gallery / Vancouver, Canada(2003)
Returning,” the English translation of the title for this exhibition, offers little more than a pinhole glimpse of the two characters in Chinese, which literally mean ‘return to unpolished jade (purity) and return to truth’ respectively. These two simple characters resonate wonderfully in Chinese, and the simplicity of “returning” may capture some of it by transference. I aspire to drop all affectation in a return to original purity and simplicity; to regain nature and thus to rediscover the true self.
—-Before the exhibition of ”Return to Eden”
Held at 99 Degree Art Gallery, Taipei (2004)
Away from Eden, soul of mankind goes astray.
In the pasts, I was seeking Eden eagerly and even trying to cultivate my own paradise. But all efforts turned out to be vain attempts for the harvest was totally poison flower and tree. Disappointed though I was, I still firmly believed that Eden is somewhere around only the leading path is hindered.
Recently, I experienced the miraculous taste of ‘Regeneration’ which brought me to Eden instantly.
The series paintings related to neither theological discussion nor aesthetic depiction. It is simply confession of my belief and hymns out of my heart as well.
林勤霖的抽象路 於99度藝術中心 2015
這次展出1976-2014的系列作品30件, 為的是要陳明自己對抽象藝術探索的思維理路以及呈現跌跌撞撞中的許多艱辛。值此日斜之年有感於藝途之苦，特成此七言以抒胸臆：
半生踽踽獨蒼茫
一心悃悃道途藏
暮日匆匆秋葉落
殘月淒淒影惆悵
思潮汩汩如泉湧
回首邈邈徒懷傷
奔流洶洶怨磯石
入海悠悠自得湛
縱或傷懐但也時有欣然! 自喻單飛的孤鴻，孤獨是自選的位置，爪痕是自定的方向。嚴酷的冰雪並無礙於我的追尋，即使是粉身碎骨過程已夠豐足。
想到泰戈爾《Fireflies》裡的詩句：I leave no trace of wings in the air, but I am glad I have had my flight. 怡然一笑！
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—————————————–
任性由心
林勤霖
為了「任性由心」的展覧我寫下了：
人入真純境
心情獨朗清
筆行無為處
千岩萬壑明
這些文字陳明了我一貫的創作過程—–由内蘊充沛而致外顯無礙。内蘊是無止境的吸纳與建構以期達於真纯清明。至於外顯則有賴去手執成規而能暢所欲言不為物役。
在對早年的细腻再現自然物象而感厭倦之後，我受惠於詩詞與音樂的啓發而自然的選擇走進抽象。就表象而言，抽象畫像是與自然切斷了臍帶。但實質上自然的精髓卻仍以另一種形態存在畫中，其所蘊涵的藝術成分更為精纯而豐滿！抽象藝術架構上的立論已由康汀斯基的《藝術的精神性》所奠定。只是在往後歷史的發展中藝術家常常退缩到個人情绪的宣洩與外觀形式的追求。這些無關載道的皮相表達幾乎完全凌駕了精神的内涵。就表象而言，廿世纪眾多的藝術形式遠超過了過往世代的總和。創作動能的膚淺化可能来自安逸。市場的火熱經常帶来精神上山窮水盡的冰冷。
就藝術的根源而論，抽象與具象同樣不能脱離自然—廣義的自然。莎士比亞在他《冬天的故事》裡藉著劇中人物波西米亞王Polixenes說道： 「自然像是原始的樹幹， 而藝術是接枝其上的新苗， 由此而孕育出較高貴的品種。」
愛默生有一首名為《謙卑的蜜蜂》的詩，他用蜜蜂釀蜜來說明藝術家的工作性質：
眼中只見美物
口裡啜吸甜蜜
你嘲弄命運與煩憂
捨糠秕而取麥穗
蒙田也曾在他的《隨筆集》中寫道：
蜜蜂往來採集， 化成她們特有的蜜；
不再是百里香或是瑪佳蘭
在蒙田和愛默生， 詩人就是蜜蜂， 自然就是花草，蜂蜜就是思想，表現於文字就是詩。同樣的，思想也主宰了其他形式的藝術。到這裡， 藝術與自然的關係就更形親密了。在接枝與釀蜜的比喻中，具象畫與自然的關係比較像前者；抽象畫與自然的關係則像後者，因為花在做為材料之後她的「形象」(百里香或是瑪佳蘭)已經轉化而不在蜂蜜上具體的呈現，但是在整個釀蜜的過程中，花仍是絕對的要件！ 因此我們可以用Polixenes斬釘截鐵的話來做結論： 藝術即自然！這裡的自然是廣義的自然，是人類透過可感知的第一自然加上由心智所激盪岀的「第二自然」，也可稱之為「釀造過的自然」。種種的「自然」都涓滴的匯入世界靈魂的無盡藏之中。
基本上我的外顯是採用超現實主義所倡的「自動性技法」。本此，我的「行動」不再受預設的約制。當我面對無意識自動呈現的「作品」時，會有一段有意識的「停格」(通常是觀察作品的「表現」) 。在整個創作的過程中思考當然也是重要的一部份。雖然思考所得的結論多半是藝術家全人的投射，但原來純為接受者的畫布之所呈現也變成了一個有發言權的「生命體」。這種對話式的行徑使得作品在某種程度上暗藏著無限多的可能。
Dec.31, 2016
Welling from heart and soul
By Lin,Chin-lin
For the exhibition of “Welling from heart and soul,” I wrote:
When one comes to naiveness,
he will reach to a state of serenity
When one gives free rein to his brush,
all shapes appear with dramatic vividness
The above stanzas depict my consistent practice of creation— To pursuit the outer deregulation by inner fullness. The inner fullness which results in a state of spiritual tranquility comes from tenacious absorbing and organizing while outer deregulation is acquired by giving up the painterly conventions and stereotyped hands.
Being tired of the detail portrayal of nature objects and was inspired by poetry and music, I chose to migrate to the realm of abstract art in my youth. Outwardly, abstract cuts off its umbilicus with nature. But actually nature is never absent and it nourishes art with even more subtleness and richness. Though the framework of abstract art been theorized by << Concerning the Spiritual in Art >> of Kandinsky, but in history later artists tended to retreat to emotionalism and externalism. Those trifle expressions override the spirituality. In terms of FORM, art works of 20th century exceeded past generations in quantity. The rich market might cause a spiritual poverty. For easy life can always shallow the motive power of creation.
Both abstract and figurative art originate from NATURE—nature in broaden sense. Shakespeare confirms his idea through Polixenes, a cast of his play entitled<< The Winter’s Tale >>:
A gentler scion to the wildest stock.
And make conceive a bark of baser kind
By bud of nobler race: this is an art
Ralph Waldo Emerson parallels the produce of honey with the art creation. In << The Humble-Bee >>, he wrote:
Seeing only what is fair,
Sipping only what is sweet,
Thou dost mock at fate and care,
Leave the chaff and take the wheat.
Michel de Montaigne wrote in his << Essays >>:
Les abeilles pillotent de ça de là les fleurs ; mais elles en font après le miel qui est tout leur ; ce n’est plus thym, ni marjolaine
Montaigne and Emerson both agreed that poet, nature and honey symbolizes the bee, flower and thought respectively. The literation of thoughts bring forth poems. Identically, thoughts play the pivotal role in all arts. Now, we can make a conclusion that art and nature are as close as lips to teeth. To analogize the relationship between nature and arts, the realism is like the bud grafting and abstract is similar with the honey producing. Even pollen is changed in the process of the transforming but flower is absolutely a must-have. So, we can affirm decisively by quoting POLIXENES’ conclusion: The Art itself is Nature! Again, the nature here is the nature in broaden sense, i.e. The another nature of knowledge that is brewed from the sensible humanity. Then all knowledge will contribute to the world soul.
Fundamentally, I paint on the principle of “unplanned scheme" based on theory of Automatism initiated by Surrealist. On this basis, I surrender ideological dominance and no longer restricted by ‘predetermination’. When I face the unconscious “presentation,” a “pause of action” enables me to reflect on the feedback from the canvas before the next step is taken. Although the final image results mostly from the psychological projection of my wholeness but in such process artworks become “speakable” beings and make unlimited chances possible.
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龍在天涯–展出瑣言
林勤霖
人入真純境
心情獨朗清
筆行無為處
千岩萬壑明
這些文字陳明了我一貫的創作方法—–由內蘊充沛而致外顯無礙。內蘊是無止境的吸納與建構以期達於真純清明。至於外顯則有賴去手執成規而能暢所欲言不為物役。
在對早年的細膩再現自然物象而感厭倦之後，我受惠於詩詞與音樂的啓發而自然的選擇走進抽象。就表象而言，抽象畫像是與自然切斷了臍帶。但實質上自然的精髓卻仍以另一種形態存在畫中，其所蘊涵的藝術成分更為精純而豐滿！抽象藝術架構上的立論已由康汀斯基的《藝術的精神性》所奠定。只是在往後歷史的發展中藝術家常常退縮到個人情緒的宣洩與外觀形式的追求。這些無關載道的皮相表達幾乎完全淩駕了精神的內涵。
作為一個中國當代的藝術家我最關心的莫過於中國藝術的發展。我曾花費許多時間研究歷史終於發現了她深根蒂固的困境。之後我寫了《破落的桃花源》文中的末段我指出媒材可能是國畫最具爭議性的要項。宣紙作爲載體不宜修改。因此爲了完美的畫作就必須練就一手無瑕的工夫。這也常使得藝術的精神內涵常被忽略。爲此我改用絹布作爲＂支撐物＂而以宣紙作爲部份的＂呈現材＂。當需要時，我貼上宣紙去減少＂視覚象＂，同時也增加了＂物理量＂。很榮幸能在這次展出提供這些實驗性的作品，甚盼能誘發一些建設性的回響！
When one comes to naiveness,
he will reach to a state of serenity
When one gives free rein to his brush,
all shapes appear with dramatic vividness
The above stanzas depict my consistent way of creation: To pursuit the outer deregulation by inner fullness. The inner fullness comes from tenacious absorbing and organizing which results in a state of spiritual tranquility while outer deregulation is acquired by giving up the painterly conventions and a stereotyped hand.
Being tired of the detail portrayal of nature objects and was inspired by poetry and music, I chose to migrate to the realm of abstract art in my youth. Outwardly, abstract cuts off its connection with nature. But actually nature is never absent and it nourishes art with even more subtleness and richness. Though the framework of abstract art been theorized by《Concerning the Spiritual in Art》of Kandinsky, but in history later artists tended to retreat to emotionalism and externalism. Those trifle expressions overrode the spirituality for many decades.
As a Modern Chinese artist, I concern most about the development of Chinese art. I spent much time in studying our history and discovered its deep-rooted plight. I therefore wrote an article entitled “Demolition of T’ao Paradise.” On the last paragraph of the text, I pointed out media could be the controversial blind side. Rice paper as a medium is not suitable for modification. As a result, the infallible precision of hand is required to secure the perfection. By doing so, the artistic reflection of mind is absent oftentimes. So I started to carry those ideas into practice by employing the silk as “support” and the rice paper as part of the “surface.” I pasted the rice paper to reduce the “visual quantum” and increase the “physical texture.” I am glad to present one of my new works here in this exhibition. Hope this experimental try will result in a wider discussion and cause some constructive echoes.
Lin, Chin-Lin
—————————————–
再尋桃花源
林勤霖
常常反省作為一個藝術工作者若忽略了傳統水墨就有失根及貧血的危險！
1984年隨著發現系列的展開，我也同時做了水墨畫的探索。這個階段用了許多自動書寫混雜著大塊潑色, 雖然有些許視覺上的「新貌」但只是仍然不脫筆墨渲染的槽臼。之後的十多年間幾乎都消磨在畫布上，但對於水墨的探索稍未停歇。98年我寫了《破 落 的 桃 花 源》，文中把六朝到宋的藝術喻為美麗的桃花源而後世的師承臨摩恰恰把它的美景消耗殆盡。媒材也是部份問題，因爲不論是二維或是三維，把創作推到極致不外是加減法。宣紙作爲載體在減法上有其框限。因此我試著用絹布作為support而以宣紙作爲surface來配合筆墨作裱貼(collage) 。這種方法使視覚上的減法成了可能(物理上是加法, 但它在肌理上反而增強了) 。這次展出的作品就是這個理論的實踐，歡迎先進們惠予賜教！
—————————————–
潛質的發微 Unveiling the concealed subtlety
貝爾(Clive Bell,1881-1964) 於 1914年在英國出版了《ART》，其中第24章提出了「藝術乃有意義之形式」(Art as significant form ) 的論述。在他，藝術品作作爲審美的標的若不能激起「美感」就應被逐出「藝術的自治國度」(1)之外。此前康汀斯基於1912年在德國的《藍騎士》發表了「關於形式問題」 (Über die Formfrage) 強調了藝術形式的精神內涵(Soul of the form) 。他們一個在理論上提示了欣賞的原則；一個着眼於創作的根源，其英雄所見都同時指向「精神性」的核心範疇。這種「巧合」或許正是廿世紀初葉歐洲的政經與文化氛圍使然。更有趣的是藝術史上兩位抽象畫的先驅蒙德里安與康汀斯基都曾受感於布拉瓦茨基夫人(Helena Blavatsky)所倡導的通神論(Theosophy)。通神論者認爲藝術家們過去所追求的是「表面的真實」而因此遮蔽了「内在的真實」，所以藝術家應當揚棄對短暫現象的描摹而追求事物的純粹本質。這種帶著濃濃宗教色彩的神祕學説在當時已擴散甚廣以致許多人都深信人可以從有形的物質狀態「神化」到純粹的精神狀態。因此康汀斯基在文章的開場就直言：「到了命定的時刻，這種必然性已臻成熟」。對於他的理論建構，康氏是用了全然的直覺跳躍而非縝密的邏輯思考。他認爲：創造性的精神不僅是被遮蔽在物質的背後也同時隱藏在物質之中。他所揭櫫的精神內涵正是貝爾所強調「有意義的形式」之所本。本此，以物質形式呈現的藝術品只是精神內涵的載體，它若不能直指核心就變得毫無意義。然而內在精神如何顯發於物質形式之上呢？物質形式主動的「顯發」(Narrate) 其精神内涵早爲實證主義者所否定,而精神内涵在物質形式中被動的「激發」(Provoke) 了觀者的內在感情則是貝爾常常點明的。本此，揭開作品藝術美的按鈕應是存在於各個欣賞者的心理。
由於康汀斯基與貝爾都同時切斷了作品與自然的臍帶。欣賞這類沒有可供辨認形象的純粹作品不論是「抽象」(Abstraction) (2) 或是「非形象」(N0n-objective) (3) 都是極端個人化而沒有客觀標準的。嚴格的説，它甚至連可通約的最大值(commensurability)都不可得。因此去做説明或企圖去了解都成了難題，就連康氏也坦承：「這些穩藏的精神能了解的人不多」。了解是立基於作者與觀者的共鳴(Resonance) ，但共鳴的基礎之難得者至矣。所幸到了H.G. Gadamer 的手中將詮釋學定位爲一種有關理解的本體論。他認爲藝術品的意義不僅僅是創作者的原意，更重要的是觀賞者對該作品的理解意義。這種意義經由以語言爲媒介的傳遞與擴充形成了一個無限的過程。美國學者 E.D.Hirsch Jr. 在其1967年發表的「解釋的有效性」 (Validity in Interpretation )中把作者以系列符號的確定表達定義為 Meaning，而把作品與某人、某系統、某情境之間的變化關係定義為 Significance。至此，精神內涵的拓展隨著時間的推移有了倍數的增長。然而這種自由也可能被擴張到無邊無際。從極僵化的限制到絶對的自由彷彿一艘出港的小船航向茫茫的大海，沒有羅盤的定位則難免有觸礁的可能。在藝術品的欣賞上，貝爾也否定了經驗與知識的必要性。他說：＂我們不需要把生活經驗帶進作品的欣賞中也不需要相關於作品理念及事務方面的知識，不需要熟悉作品要表達的情感。藝術把我們從人的行動世界帶入昇華的美境。就在這一刻，我們被隔離在人慾，期望之外，同時我們的記憶也被捆鎖。此時我們被提升到生命不息的川流之上」。我並不排除這種天才型的靈敏心靈但對普羅大眾而言那畢境是些特例。對我而言，這只是欣賞初階的一個純主觀感受階段，如同禪師所指出的「見山是山」(4)。而美術史所建構的理論以及個別佳作所匯總而成的品味典範也是揭發作品內涵所需修習的。知識有可能導致一時的「見山不是山」，但終究這是進入「見山又是山」的必經之途。
這次展覽我刻意選擇了最沒有「繪畫性」的作品並略去了標题及任何可能引發聯想的暗示，為的是讓作品直接「激發」觀者而使作品幽微的内涵得以無礙的進入人心。但願這種纯粹的美感經驗或能開啓觀者某種另類的潛能。
註：
(1) Clive Bell 認爲藝術無關生活狀態與社群關係。它是一個自治的國度(Autonomy) 排除了有暗示或資訊性的「描述繪畫」、心理或歷史性的「肖像畫」、地誌學作品、說明或故事性的圖式、以及各種圖解、圖案或插圖。舉凡不能引發審美的感動的都在排除之列。
(2) 第一種抽象方法是從自然形象抽離或重組的「合理再構造」。
(3) 第二種抽象方法是以繪畫的基本元素作「主觀再創造」
(4)《指月錄》卷二十八。
見山是山…見山不是山…見山仍是山
(林勤霖)
Unveiling the concealed subtlety
In 1914 Clive Bell published 《Art》in England. He delivered the idea of “Art as significant form” in chapter 24. He excluded those works that produce no aesthetic emotion from the autonomy of art. (1) Before this event, W. Kandinsky issued＂Über die Formfrage＂in 《Der Blaue Reiter, 1912》in Germany. He granted that the “soul of form” is the pivot of an artwork. Bell pointed out the principle of appreciation theoretically while Kandinsky indicated the very root of creation. Their great minds both pinpointed to the core of spirituality. Maybe the politico-economical and cultural atmosphere of the 20-century in Europe fashioned this coincidence. By further study I found with interest that the forerunners of abstraction—W. Kandinsky and P. Mondrian once indulged in＂Theosophy＂founded by Helena Blavatsky . Theosophists deemed the“external form＂once artists pursued as a black veil to conceal the＂inner truth.＂So, artists should quit following the transient exterior surface and entering the spiritual realm to search the essence of matter . Such mysteriously religious impact strode toward the public finally. Many believed that the sheer spiritual state can be achieved through ”transcendental laws.＂Mirroring this modishness, Kandinsky declared in the beginning of the said essay:＂At the appointed time, necessities become ripe.＂He reached this conclusion by a kind of intuitive leap rather than by meticulously logical thought. He emphasized that the Creative Spirit is not only hidden behind matter, but also concealed within matter. The spirituality which he highlighted is the very source of the ”Significant form＂of Bell. Now, we can see the artworks in material form are nothing but the vehicle of the soul. So, the artworks are worthless if it does not pivot on the spirituality. But how can the material form carry the spirituality is another problem. The narration of the material form has already denied by the Empiricist and Bell pointed out that the aesthetic emotion of the audience is provoked by the spirituality dwells in works of art. So, the button to unveil the artistic beauty is inside the heart of the audience.
Because Kandinsky and Bell have cut off the connection between artworks and Nature, so artworks that not symbolize the visible world are extremely personalized. As a result, objective criteria and even commensurability are hard to set both in Abstract (2) or Non-objective (3) works. So, it is difficult to understand or to explain for such. Kandinsky admitted that the veiling of the Spirit in matter is often so dense that there are generally few people who can see through it. In my viewpoint, comprehension is based on the resonance between sender and receiver. To reach a perfect resemblance is almost impossible in a way. Thanks to H. G. Gadamer for his resolution. According to his theory, the meaning of an artwork can be extended as the viewer legitimately interprets the work. So, the derived meaning can be infinite through such chain process of reflecting interpretations. The American theorist E.D. Hirsch jr. defined Gadamer’s idea of extended meaning as “significance” in his treatise <Validity in Interpretation, 1967>. With the expansion of “meaning,” the cultural growth which has been accelerated by mind-storming is forming a huge pyramid of knowledge. But such a once-bound freedom would possibly expand to an extent that it is like a vast ocean while someone trying to row across it. How dangerous it is if there is no compass available. On the issue of art appreciation, Bell denied the necessity of having experience and knowledge. He stressed:” To appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs, no familiarity with its emotions. Art transports us from the world of man’s activity to a world of aesthetic exaltation. For a moment we are shut off from human interests; our anticipations and memories are arrested; we are lifted above the stream of life.” I would admit that having such sensitive genius is possible, but such subtle comprehension is not for the public. To me, this is only the first step of the journey of art appreciation as the Zen master mentioned: “A mountain seen is a mountain being.”(見山是山)(4) Meantime, the well-constructed theories and collection of master pieces deserve close scrutiny. Although it might make the second stage as “a mountain observed is no mountain being,” (見山不是山) but this is an access to reach the state of “a mountain perceived remains a mountain being.”(見山仍是山)
In this exhibition, I present some non-painterly works and to omit its title intentionally. This is to avoid hints that would bring any association to the audience and with such close and intimate communication one might unveil the concealed subtleties abundantly. Hope such aesthetic experience can arouse the alternative potentiality of the audience. .
Footnotes:
*(1)Bell insisted that Art is independent of life and social relations. He believed descriptive paintings, portraits of psychological and historical value, topographical works, pictures that tell stories and suggest situations, and illustrations of all sorts are not genuine art.
*(2) “Abstraction” is to abstract the favored part(s) or to eliminate the irrelevant details to shape a “reasonable re-formation.”
*(3) ” Non-objective” or “Non-figurative” is to construct painting elements independently to develop a “subjective re-creation.”
*(4) A Zen saying: A mountain seen is a mountain being, a mountain observed is no mountain being, a mountain perceived remains a mountain being
By Lin, Chin-Lin