文章與演講

Professor Chiang Ming-Shyan explores different western techniques

in his Chinese ink and brush paintings. Stroke, blot, drip, dye,


color, splash, and splatter are applied back and forth to achieve the desired


chiaroscuro, texture, contrast, and visual effects. 

 

我畫文學造境的作品,除了氣質的營造,也加入色彩的輔助;歐美建築,為避免建築物的「形」太一致,必定在色彩、線條上多著墨;處理民俗古蹟題材,一定先掌 握他們的氣氛,主題越是民間化或單調,我越要畫出他們的深度、厚度、宏觀來,尤其避諱小器、弊帚自珍,務必把他們由民間匠人的層次,提升到俗的藝術境界

His works are constructed on his observation,

perception, and impression. For example, when he deals with an idyllic scenery, he expresses  the 

humanistic  and emotional environment with the aid of colors.  When he does European building 

structures, a myriad of 

colors and lines of demarcation are used to avoid architectural uniformity. When he handles local

folk heroes and folklores, he spends a great length in grasping the atmosphere surrounding characters 

and locations; if subjects are commonly known from  local artisans’ works, he strives to stress 

their depth, volume, and grandeur  through his artistic interpretation. 

 

 

爲了豐富單調的主題,我很重視「染」的功夫,因為「得淡中之濃」的墨、彩,才具層次感,才耐人尋味。因此,「形」若繁複,「色」便減弱;「形」較單調,「色」便加強成「重彩」。這時,要使重彩的畫面沉著、穩重,豔而不俗,就要靠染的功夫技巧了

If he does simple and monotone subjects, he resorts to the dyeing technique to convey a fuller life.

With repetitive dyeing, his works  reveal  texture  and dimensionality from layers of 

successively lighter and thicker inks and colors and leave viewers plenty of room for imagination. 

He prefers to contrasting form to color or vice versa. If subjects are complex with different shapes 

and forms, he decreases use of colors. On the other hand, if subjects are simpler, he expends splendid

colors generously.  Colors, in his belief,  add weight and calmness to the overall picture. In addition, he

perfects the dyeing process to make his works elegant. 

 

 

 

異於傳統繪畫強調「計白當黑」,預留天地;我的畫面普遍很滿,因此筆墨的虛實、濃淡、疏密、疾徐、潤燥、曲側、巧拙,都要留意掌控,在配合十數次的拓印、拓染、墨染,務使較雍塞的畫面,活潑而靈動

He likes to cram as much as possible to his canvas. In order to make them look 

lively and invigorating instead of congested and dull, he strikes a fine balance

between void and fullness, thick and thin, dense and sparse, quick and slow,

moist and dry, curved and straight, clever and clumsy, with application of Tuo 

printing and imprinting (lithography), Tuo dyeing, and ink dyeing a dozen times. 

 

總之,我的畫風和創作理念,是隨著各階段創作背景的不同,而出現了水到渠成的變化和實踐,我堅持言必有物,不矯揉造作或無病呻吟,也因此,我始終戰戰兢 兢;面對畫面,永保高度的熱情和誠懇,希望眼光到處,觸手成趣。我更期望種中西融合的表現形式,為台灣本土民俗古蹟,畫出一片新天地

 

His painting style and philosophy changes in different stages, with respect to 

artistic backgrounds he experiences. He creates out of his true feeling. He is always 

full of zeal and sincerity when working on a project. Everything he touches brings a 

smile from his audience. He hopes to express himself by combining Western and Chinese

painting principles in a harmonious way.  You be the judge. Welcome to his show.