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2022/03/22
2019 有彘義同-塵三油畫展
有彘義同-塵三油畫展
Aspiring Together-Chen San Oil Painting Exibition
開幕 Opening︱2019.04.13 (Sat) 3:00pm
藝術家親自出席開幕茶會
展期 Exhibition︱2019.04.09 ~ 2018.05.05
地點 Venue︱穎川畫廊 In River Gallery：台北市中正區仁愛路一段45號2樓
電話 Tel︱886-2-23579900
網址Web︱//www.inriver.com.tw/
臉書Facebook︱//www.facebook.com/InRiverGallery
塵三用西方的素材表現東方的意念，從其對現在社會與世界的觀察，由發自內心的自覺畫出對當代人文與現世的諸多關懷與體悟。
對他而言即是「應成式」的繪畫。何謂應成式?簡而言之即是「應相化成」。「應」是一種感受的、行動的第一因，由此第一因而成筆下諸多流動的形象，「應」是一個內心諸多緣起的匯集。內心豐沛而文化底蘊深厚的塵三，用他真摯而當下的直觀洞見，不假刻意地思索及布局傳達出動人的自然感受，然而自然也只是他的介質。
塵三 / Chen San ,碇水 Dark Blue Flow , 油畫 Oil on Canvas ,72.5x91cm ,2018
塵三藉由山水去傳達其心中對精神自由性的超脫，用自然山川的美好來表達內心的堅實性，用崇山峻嶺的巍峨來傳達對德性的嚮往。《史記．孔子世家》：「《詩》有之：『高山仰止，景行行止』。雖不能至，然心嚮往之。」人不能再造自然，但自然之美卻內化於心，無需多餘言說，如「我見青山多嫵媚，料青山見我亦如是。」自然就像一面鏡子，看見自然之時，人當下可回歸如「嬰兒乎」的本性。石濤云：「生活之操，載之環宇，已受山川之質也，以墨運觀之。則受蒙養之任，以筆操觀之。則受生活之任，以山川觀之…」一個人對生活的體悟有多少，看他對自然的認識有多少？一個畫家的文化涵養有多深，從其下筆處即可得知。
塵三Chen San ,郝山 Good Mountain, 油畫 Oil on canvas ,80x60.5cm ,2018
當代藝術家創作的靈感來自於對生活的體會，當我們面對藝術作品時應敞開心胸，坦然去面對眼前所見，放下既有的所知成見，反而能深入作品背後藝術的本質與精神性內涵，而能以直觀的心去觀察與認識。進而達到療癒及移情的作用，這樣藝術對於生活才能有提升與轉化的價值，這也是為何我們需要藝術？用到生活上，當我們不再以“有無、善惡、美醜”二元的對立想法、思想和言語。就不會在是非、對錯的分別概念之中搖擺不定，並以之作為“此是彼非”的判斷根據，如此在智識上才能有所提升。《韓非子·解老》：「故視強則目不明，聽甚則耳不聰，思慮過度則智識亂。」處於現今的時代，我們缺乏的不是知識之不足，反而是當下安定的身心與智慧。
塵三Chen San, 藍星 Blue Star, 2019, 油畫 Oil on canvas, 91x72.5 cm
所以當我們更用心去認識自己，了解自己時，才能進入作品的精神意涵及藝術家想傳達的觀念。六祖惠能大師曾云：「一切萬法，不離自性」，心通則萬法通。塵三的「應成式」繪畫源於其對中觀應成派的體悟，中觀應成派不立一法自成一法丶不立一法故，用於創作上則自成一格不隨風轉向。因為對因緣法的深刻體悟，塵三的畫作展現其內心主體人格之精神和不拘成法的藝術生命力，與蘇軾「至酒酣放浪，意忘工拙」，「我書意造本無法，點畫信手煩推求」，「心手雙暢」的尚意精神不謀而和。
塵三Chen San , 空淌 Spring in the Valley, 2018, 油畫 Oil on canvas, 53x45.5 cm
明末清初畫僧石濤亦言「我自用我法」，「余得黃山之性，不必指定其名」山水不過是塵三抒發其心中之意的假託，不定指那座山、那個地點，如「碇水」這幅畫，右邊的刮痕如一片羽毛似在輕輕地飄蕩，又似乎受到一種牽引不斷地往上....若有若無的輕透感，也似正在下墜物體....，這道刮痕引人諸多的想像，而這也是塵三想表達的：應當下的時機，完成現在的條件。而畫的完成留待觀賞者進入畫中才得以實現，這也是欣賞藝術有趣的地方。
Chen San uses Western materials to express Eastern ideas. From his observations of contemporary society and the world, he draws out his deep concern and understanding of present-day humanity and worldly existence. According to Chen San, this is what he calls “Prāsaṅgika style” painting. What does “Prāsaṅgika” mean? In simple terms, it means “manifestation through responsive transformation.” “Prāsaṅgika” refers to a perceptual and active first cause. From this initial cause arise the flowing images in his paintings. “Prāsaṅgika” is an accumulation of numerous interwoven conditions within the mind. With a richly cultivated inner world and deep cultural grounding, Chen San expresses sincere and immediate intuitive insight, without deliberate calculation or planning, conveying natural and moving sensibilities, using “nature” as his medium.
Through landscape painting, Chen San conveys his aspiration towards spiritual freedom and transcendence. He uses the beauty of nature to express inner strength, and the majesty of mountains and ridges to represent his longing for virtue. As recorded in Records of the Grand Historian: The House of Confucius: “The Book of Songs says: ‘High mountains are looked up to, and great actions are followed.’ Although I cannot reach it, it is still what my heart desires.” Humans cannot recreate nature, yet its beauty is internalised within the heart without the need for excessive words. As the saying goes, “I see green mountains so charming; I presume the mountains see me likewise.” Nature becomes a mirror; when one encounters it, one may return to a childlike state. Shi Tao once said, “The conduct of life is carried throughout the universe, already shaped by the qualities of mountains and rivers. Viewed through ink’s movement, it is nurtured by cultivation; viewed through brushwork, it is governed by lived experience; viewed through mountains and rivers…” How much one understands life can be seen in how much one understands nature. The depth of a painter’s cultural cultivation is revealed in their very brushstrokes.
The inspiration of contemporary artists comes from lived experience. When we face artworks, we should open our minds and confront what is before us with honesty, setting aside preconceived knowledge. Only then can we deeply perceive the essence and spirituality behind the work through intuitive awareness. Art can then bring healing and emotional transference, thereby elevating and transforming life. This is why art is necessary in our lives. When we no longer think in binary oppositions such as existence or non-existence, good or evil, or beauty or ugliness, we will not be unsettled by judgments of right and wrong, nor use them as the basis for distinguishing “this is right, that is wrong.” In this way, wisdom can be elevated in the realm of knowledge. Han Fei Zi: Jie Lao stated: “Therefore, if one overstrains sight, the eyes become unclear; if one overstrains hearing, the ears become dull; if one overthinks, one’s wisdom becomes disordered.” In this era, what we lack is not knowledge, but a calm mind and wisdom in the present moment.
Thus, the more attentively we understand ourselves, the more we can enter the spiritual meaning of artworks and the ideas artists wish to convey. The Sixth Patriarch Hui Neng once said, “All phenomena [in the universe] are not separate from one’s own true nature.” When the mind is clear, all things are clear. Chen San’s “Prāsaṅgika style” painting originates from his understanding of the Madhyamaka Prāsaṅgika school. This school does not posit any inherently self-existing dharma; therefore, in artistic creation, it becomes a style that forms itself without following trends. Through a profound realisation of dependent origination, his painting reveals a spiritual subjectivity and an artistic vitality free from rigid conventions, resonating with Su Shi’s spirit of valuing expression over craft: “ When intoxicated with wine, one forgets skill and clumsiness,” “My writing is born of intention and has no fixed method,” and “hand and mind move in harmony.”
The late-Ming and early-Qing monk-painter Shi Tao also said, “I use my own method,” and “Having attained the nature of Huang Shan, I need not specify its name.” Landscapes are merely a vessel for expressing Chen San’s inner intent, not tied to any specific mountain or location. In his painting 碇水, for example, the scratch on the right side resembles a drifting feather, as if gently floating, yet also pulled upward by some intangible force and translucent sensation, while also resembling a falling object. This invites many interpretations, which is precisely what Chen San intends: responding to the present moment and completing the work under current conditions. The completion of the painting is left to the viewer’s engagement, who enters the painting to complete it. This is the fascination of experiencing art.