墨非墨 Beyond Ink

日期
30/03/2020 - 11:00 - 27/06/2020 - 19:00
地址
盈鑾畫廊
黃竹坑道21號環匯廣場1602室

中國水墨藝術源遠流長,兩位窮大半生致力水墨變革的藝術家 —— 李厚及陳成球,顛覆了傳統水墨具體物象局限,構建出獨樹一格的抽象水墨境界。為迎接盈鑾畫廊開業5週年,盈鑾畫廊將於2020年3月30日至2020年5月9日隆重呈獻《墨非墨》展覽,展出兩位畫家觸動人心的水墨創作,令觀衆耳目一新,千萬別錯過這難得一遇的機會!

被譽為「抽象水墨先驅」、年屆82歲耄耋之年的旅美中國畫家李厚,自幼研習中國水墨,90年代初踏足歐美,備受西方繪畫豐富色彩與點線面等技法衝擊,遂花上近廿年時間探索、融合,終創建出其獨特的抽象水墨藝術語言,拓展現代水墨藝術。

李厚以「墨的發掘」為主軸,巧妙地「變法」了中國傳統水墨,其獨特的水墨色韻如夢似幻,破墨得法、積墨千層,成功把具像寓於抽像中,其畫面靈動、變幻顯隱、生機頓生,在看似沒有主題畫作中,感受到無限動感。

《墨非墨》將展出李厚以點、線為主軸作品,表面簡單的點線積墨,每個點、每根線的虛實變化,互相呼應,畫面流露觸動生命的旋律及悸動,紙墨間的氣韻動人心弦。

現年68歲的香港現代水墨畫會會長陳成球,師從「現代水墨之父」劉國松,研鑽中國水墨近半世紀,他潛心擺脫傳統「筆墨」技法束縛,以書法理論及線條韻律匯入畫作,利用水墨在宣紙上流動的墨蘊軌跡、混和他獨創的「抹點皺」—— 在桌面拓印的抹點效果,創建出其獨特而嶄新、既抽象又氣勢磅薄的水墨藝術。

《墨非墨》展覽將展出陳成球早期、「天地根」及「錐沙漏痕」系列的作品。「天地根」系列以水墨在宣紙上緩慢蠕動的軌跡表現出「白線的張力」,符號化的草體篇章,展現出大地縱橫、峰巒起伏的胸中丘壑情懷;「錐沙漏痕」系列是受「扶乩術」啟發的創作,筆墨痕跡有如扶乩受鬼神驅使的錐沙痕,行筆施墨糅合中國書法美學觀念,構建出如篆如草的抽象水墨。

僅以水、墨兩種簡單媒介,透過濃墨、淡墨、乾墨、濕墨及焦墨,以不同的用筆技巧,在畫面中展現無窮盡的題材,以濃淡墨變化、以及留白等方式締造空間感,始於唐代的中國水墨藝術,發展至今,已留下不少傳世作品。

在全球衆多藝術品中,抽象藝術最易令一般藝術愛好者接受,因而成為最具國際市場流通性的作品,中國的抽象藝術作品進入國際市場,由趙無極、朱德群的抽象大師為首,在國際藝術市場的影響愈見龐大。盈鑾畫廊是次《墨非墨》展覽,將帶領觀眾進入中國抽象藝術的世界,帶領觀眾領略抽象水墨藝術的力量。

展覽日期:2020年3月30日(星期一)至2020年6月27日(星期六)
地點:香港黃竹坑道21號環匯廣場1602室 盈鑾畫廊
開放時間:週二至週六 11:00 - 19:00
歡迎預約參觀:(852)2341 8899/ 9725 8019

To celebrate Cheer Bell Gallery’s 5th anniversary, we are proud to present inspirational works by revolutionary contemporary Chinese ink artists Li Hou & Chan Shing Kau at “Beyond Ink” from 30th March 2020 to 9th May 2020. It is no doubt that Chinese ink has a long history. Yet, artists like Li Hou and Chan Shing Kau spent most of their lifetime on revolutionizing it. With their out-of-the-box thinking, they made their names as contemporary Chinese ink artists by breaking the boundaries of ideals in figurative art imposed by traditional Chinese ink advocates. “Beyond Ink” is going to take you on a thrilling ride to see contemporary Chinese art with fresh eyes and get a taste of its magnificence. Don’t miss out on this opportunity to a one-of-a-kind experience.

The 82-year-old Chinese ink artist Li Hou, though now resides in the U.S., is regarded as the pioneer of abstract ink art. Li has been learning Chinese ink as a child. In the early 90s, he paid his first visit to Europe and the U.S., where he encountered the rich colors and Western notion of “points and lines to planes”. After a 20-year-long experimentation, Li has established his very own “language” in abstract ink art, making remarkable progress in expanding the modern ink art scene.

With “Exploration of Ink” as the anchor, Li brought about an ingenious reform in Chinese traditional ink and showed us the modern take on Chinese ink. His works are composed of stratified points and lines to accumulate layers of ink on paper. Each point and line complements each other to uncover an energetic and lively rhythm of life. A closer look reveals a vividly dynamic composition and a compelling force as if an abstract ink wonderland has come into being. It is the perfect example of figurative art meeting abstract art.

The now 68-year-old Chinese ink artist Chan Shing Kau has been studying Chinese ink for nearly half a century. Like his mentor Liu Kuo-sung (also known as the Father of Modern Ink Painting), Chan seeks to push the envelope of traditional Chinese ink technique. By utilizing the ink flowing nature and incorporating creatively in his artworks the Chinese calligraphy theories and rhythm of lines, Chan’s original “rubbing and wrinkling” technique creates artworks that build up a majestically solid ambience.

“Beyond Ink” will be showcasing Chan’s artworks from earlier stages of his artist career, as well as his signature series “Roots of Heaven and Earth” and “Tracing Series”. “Roots of Heaven and Earth” series captures “tension of white lines” and a unique and moving sentiment for the stupendous mother earth and hilly mountains. With meandering script-like lines, “Tracing Series” is a homage to Chinese calligraphy. Not only do Chan’s brushstrokes relate to aesthetics of Chinese calligraphy in seal and cursive scripts, they are also deemed to resemble traces of scratches left by spirits and deities on sand through “planchette writing” in Chinese folk religion.

Since the Tang dynasty, there has been a conventional notion of “five tints of ink color” in Chinese ink paintings. It refers to the use of two mediums – ink and water, to create different tints of ink, namely dense black, light black, dry black, wet black, charred black. Plenty of world-renowned Chinese paintings are thus created adopting such notion together with the common technique of “reserving white” (i.e. leaving out blank spaces).

Abstract art is considered the most accepted form of art in the world by art lovers, which makes it the ones with the most market liquidity worldwide. With great representing masters like Zao Wou-Ki and Chu Teh-Chun, Chinese abstract art is emerging gradually and holds an especially huge influence internationally. We invite you to come discover the exceptional and extraordinary world of abstract ink art at Cheer Bell Gallery. Here at our latest exhibition “Beyond Ink”, whether you are fond of Chinese ink or not, you will surely find a piece to bond with.

Exhibition Period: 30 March 2020 (Mon) to 27 Jun 2020 (Sat)
Venue: Cheer Bell Gallery, Unit 1602, Global Trade Square, 21 Wong Chuk Hang Road, Hong Kong
Opening Hours: Tue to Sat 11:00 - 19:00
Welcome visitors by appointment: (852) 2341 8899/ 9725 8019

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