LEE Chung-Chung
Elegance of Landscape
如歌的行板—關於李重重的 抽象藝術 文 / 鄭乃銘
當一切都已過去 我知道 我會 慢慢地將你忘記 心上的重擔卸落 請你 請你原諒我 生命原是要 不斷地受傷和不斷地復原 世界仍然是一個 在溫柔地等待著我成熟的果園 天這樣藍 樹這樣綠 生活原來可以 這樣的安寧和 美麗 —語出席慕蓉〈禪意之二〉
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Andante Cantabile – LEE Chung-Chung’s Abstract Art E S S AY
李重重，總是不多話。 可是，她的畫，卻為她說了百轉千迴。 看她的畫，再回過頭看看她的人。終於，也才明白一個人能活得 如此爽氣；也才能在作品中，畫出心裡的那股心平與大氣。 李重重的水墨創作，沒有一點油氣，也沾不上一絲瘴氣。 你很難在畫家的作品中，看到如此這般的氣質。 有些藝術家要不在一開始創作之初，就混身沾油；尚且在那沾沾 自喜。要不就在跨過成功當口之後，變得瘴氣滿腹，作品混身都 是個俗，對於自己不斷複製自己；還自傲是所謂風格……。 但是，李重重；就是個穩。 她的穩，嚴格來講；就是安寧。 人的內心，如果是安寧，就能美麗；一種真正發自內心所觀視、 體察得到的美麗。 內心的穩，動輒到創作的表現時，就能看到作品裡所發散出來的 清爽，就能看到作品裡；講出的話—口氣清新。
環境是教化藝術原初性格的開始
李重重成長的那個時代，本質上是傳統、規矩、守分的。 李重重的父親李金玉先生，早年畢業於北平美術學院，本身也是一位研習藝術 的知青。1947 年，當時的李重重只不過是 5 歲，就跟著父母來到台灣。1947 年其實也就是國共內戰發生的第二階段（1927-1937 是國共內戰第一階段， 1945-1950 則是第二階段）。國共內戰可說是中國現代史一項重大轉折點。 第二階段的正式開戰是 1946 年，李重重父母於 1947 年就遷移到台灣，隔年； 也就是 1949 年國民政府正式撤退到台灣，在這個節點上，許多來不及舉家遷 移的人，就這麼一錯身，再回頭都已是耄耋之年。李重重全家，稱得上幸運， 並沒有受到時代戰亂的拆散。父親李金玉來到台灣，落腳處是在台灣南部而非 北部，任職於台鹽七股鹽場，幼年時期的李重重就在台南鄉下長大。 望山有情
環境；也是後來李重重在創作的表現基底上，很重要的影響點之一。
2013 水墨設色、紙本 89.5×89cm
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LEE Chung-Chung
Elegance of Landscape
那個時候人與人之間，計較的不是心機或權謀。原因在於，大時代的動盪才 剛剛把家族間的身心震得支離破碎。好不容易能夠獲得一處安身，那來的功 夫去算計別人。畢竟，時代像篩子，篩得人千瘡百孔，最後能夠守在一起， 已是難得修來的福分。性格恬淡的父親，來到了台灣，儘管所做的工作與自 己學習美術並無關聯。可是，父親上了一天班，但總維持晚飯後畫畫的習慣。 李重重白天除了翻閱父親從大陸帶過來的許多畫冊、書籍之外，晚間最大的 樂趣就是守在書房，看著父親安靜地作畫。
台灣美術史學者蕭瓊瑞在《蒼潤婉約—李重重的現代水墨創作》一文當中， 有一段形容李重重幼年時的個性最見鮮活，也能令人從中體會到日後李重重 個性沉靜、但又能自處的脾性。蕭瓊瑞說『……假日、黃昏，李重重會隨著 哥哥赤足奔馳在潔白海邊沙灘上，……李重重一個人坐在沙灘上畫起小人 兒。風來了，把沙吹平，好脾氣的李重重就再重新畫過』。另外，李重重回 凝思 2015 水墨設色、紙本 53.5×47.5cm
憶父親時說過『記憶中的父親總是縈繞在飄散的墨香中，或站立或俯身在擺 平的畫紙、顏料之前，而背景的畫面正是那一片白澄澄的鹽田—窗外』。
這兩段文字，分別談到了外在與內在環境，也是能夠被拿來點出李重重後來 在創作上的潛質性影響。在她的作品身上，留白；固然是在傳統水墨裡見得 著的表現。可是，李重重作品中的留白，更像是童年記憶裡的藍天、鹽山、 陽光……。童年美好的記憶，穿越時空的門檻，輕巧巧落腳在她的紙幅上。 再者，李重重作品有股非常特別的氣質，她的畫並不若一般山水畫作是以構 圖來贏取那股氣勢磅礡重度。李重重的畫裡的形體，著重在「減」的構圖， 她讓景的心理質量來彰顯出視覺上的重度；那樣的一份山水或景物，是讓觀 者在內心烙下深刻的質感，使得作品並不因為畫面構圖的多與寡、繁複或簡 單；而有所減損了如李重重所講『要有大象跺腳時那樣的震動』。我始終認 為，作品上的表現作為，最原始的根據就是從父親身上所感念到的恬淡、不 與人爭。因為如此，才能使得她不需要在作品的外相上訴諸於形式上的氣度、 量感，而更願意從內化的風景當中；來展露精神的穿透與影響。
傳統是教導藝術思創的動力
歷史，則是李重重在創作表現上，另外一個重要的影響點。 6
Andante Cantabile – LEE Chung-Chung’s Abstract Art
1968 年，李重重雖然加入由劉國松所帶領的「中國水墨畫學會」，力圖從傳
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統的水墨框架上衝撞出新局。但，李重重的藝術，最可貴與最柔軟的部分， 卻是她已從傳統所汲取的養分，這樣的基礎背景，才足以支撐她有豐厚的本 質；去找尋新的表現。 畢竟，一昧的所謂創新，如果沒有傳統的質量，那麼表現出來彷若張牙舞爪 的創新樣式，充其量只是個鬆軟的面具。
李重重的父親李金玉，本身就是以傳統為皈依的青綠山水畫家。當年，李重 重進入台灣政戰學校美術系，教授花鳥的是邵幼軒、山水是傅狷夫，西畫老 師則是林克恭。我認為，這些「比較」傳統的訓練是涵養李重重藝術；得以 根基紮實主要關鍵。李重重也說，林克恭老師的西畫課程，確實是開啟無限 想像的開端，也是讓她感受到不同媒材所展現的視覺豐富度。
我之所以認為，歷史所涵養的傳統；在李重重藝術創作的軌跡中是深具重要 原因是，李重重的藝術，不單純只是為了創新而去創新，而是她從歷史的養 成教育裡面，更深厚獲得傳統繪畫的神與意，這樣的厚度，才更足以支撐她 在創作的表現過程裡，知道自己能夠改變、創新、轉折、保留……的因應。 如果沒有好的基礎厚度，那麼所謂的改變或者創新，往往只會滿足別人眼光 的期望，未必能夠得到自己內在真正所要企達的境界。李重重從家庭再到學 校，一路下來的訓練；沒有一點浮誇粉飾的成分，這些基本的功夫徹底成為 她日後在尋求自己藝術定位上，一股最有利的彈跳推勁力。
舉個例子，她在 2013 年有一幅名為〈全家福〉的作品，基本上，這件作品 就充分能夠看出李重重如何在傳統與創新上的調融關係。中國傳統水墨鮮少 以單墨或彩墨的色塊來作架購，可是，在這幅畫面上，李重重並不直接去描 述禽鳥家庭所處的自然環境。她透過大塊面的綠、黃、紅與黑色墨來帶出自 然的環境，這種以色塊來寫境的作法，大大拉抬她作品的當代性。雖然說是 大塊面的墨色，不過，水墨設色的淋陳、排筆的疾刷，李重重讓自然環境的 細節透過傳統技法的轉圜，展現出一種具有歲月但又不顯得呆滯的筆韻來迤 邐出自然風景的層次之外，她還運用乾筆簡練勾勒出的線條來對映源自西洋 繪畫的立體結構色塊，兩者間的互疊或對衝，讓這幅畫作脫離傳統描述花鳥
全家福 2013 水墨設色、紙本 54×60cm
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LEE Chung-Chung
Elegance of Landscape
之類的題材，突然間；就有了一道曙光，所有在環境裡的生命，各個環 節都有了立體感、有了層次，都有了喜悅。
墨，在她筆下；是線、更是結構、是載體、也是情緒……
記得，席慕蓉在 1985 年〈孤獨的行路者〉詩裡，有這麼段說『生命原來 並沒有特定的形象，也沒有固定的居所，更沒有他們所說的非遵循不可 的規則。藝術品也是這樣』。『……規則只是為了膽怯與懶惰的行路者 而設立的。因為，沿著路標的指示走下去，他們雖然不一定能夠找到生 命的真象，卻總是可以含糊地說出一些理由來』。這文字總讓我覺得極 清境
為貼切李重重對藝術的態度。
2015 水墨設色、紙本 94.5×250cm
李重重所經歷的環境，正好見證時代從傳統過渡到現代的轉變，如果說， 傳統給予她的並非是個包袱；而是個活體，那麼；創新所帶給她的則是 一份自由想像。兩者，正好是飛翔的羽翼及翼下之風，讓這位藝術家徹 底超脫既有與現有的體制。李重重擅長透過墨來解決構圖問題，她甚至 讓墨不再單純只是墨，她讓墨成為線條、成為結構，成為載體、成為心 情……。例如，2015 年〈清境〉那件作品，李重重以墨畫出山景的起伏， 線與墨之間；其實沒有太明顯的界線，但是不同筆觸的反覆運用與推陳， 讓整個山景除了有層次之外，竟然也讓緜延開來的山陵線成為思念的射 線，毫不猶豫地往前疾駛。李重重在這個地方所展現的筆道與筆觸，簡 直是令人歎為觀止，她讓用筆成為情緒的表彰，使得畫面的輕重、舒緩、 內斂……完全確切而不需加以贅述。尤其，李重重在墨與留白間所處置 的黃色，就好像是個破題，點出那內在清靜裡不慣張揚的騷動，淡淡的 鵝黃色與淡墨間的依偎，就好像原本飄浮在空中的羽毛，輕緩緩落到你 的手掌心，自此；再多翻揚與低迴，都儼然清澄透明，只有寧靜適合久 待……。
李重重曾說，對於趙春翔的藝術相當喜歡，趙春翔的藝術帶給她某種程
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Andante Cantabile – LEE Chung-Chung’s Abstract Art E S S AY
度的影響。不過，兩位世代與背景迥異的藝術家，透過藝術所傳達的信念，在我感覺還是各有訴求。趙 春翔本身境遇諸多顛波，造成心境蒼老，他的藝術諸多糾葛，像文學、像時代小說……，劇情排山倒海， 讀來令人不免悵然。李重重的藝術，像詩；沿襲自家庭與環境的教化，她的藝術情感飽滿卻不顯激烈， 沒有絲毫戾氣，不以視覺來寵溺觀者，而是讓作品的平和、靜謐，讓看畫的人能看出滿心的喜。2008 年 她的〈相親相愛〉，筆觸圓墩、造型拙趣，或許類似這樣的題材，趙春翔也曾涉獵。可是，趙春翔會將 筆觸帶至一種濃稠的壓抑與沉重；甚至有更多寄望與懷想，李重重卻將筆觸翻越山巔；只為沐浴清風。 藝術家的作品，寫心；以此明證。
她的藝術不是只為了服役世俗的雙眼
李重重喜歡旅行，自然也喜歡透過雙眼來「收集」山水。對多數的藝術家來講，畫景；絕非難事，但是 畫意恐非人人都能傳神。李重重不是一個以全概性來描繪風景的人。她是取現實的景來構築自己內心風 景，也正因為內心是自由、是充滿想像、是不受束縛，所以李重重所建構出來的畫面，充滿著生命景物 的靈動而非景的複製。而也正因為性格的平和，她的畫面沒有所謂稜角或銳利的線，李重重不慣於使用 濃墨，她總會在畫面上，藉由一層又一層的淡墨來鋪陳出重輕，同時也因為層序的疊映，使得墨真正有 了韻；就好像飄動、行進中的山嵐，有了思想與主見。例如，2014 年的〈大地之母〉、〈穿越時空〉， 在畫面上，你能看到李重重是如何在翻轉傳統中沉滯的墨，你也能看出；墨，在她筆下的情緒鋪張與藏鋒。
這也就好像她在描繪荷葉暗香之類的題材或深秋滿山的棕黃，李重重總能夠在墨與乾筆的交錯之下，讓 觀者彷彿就看到夏日的清風微微、輕手輕腳吹拂過荷葉；將大片荷葉翻起，驚醒了荷葉下發呆的魚群， 或者是那棕黃墨色與乾筆的對話，讓秋天林間會發出的清脆聲響，直接透過畫面就傳透到你耳裡，乾筆 的婉約、與不著邊際的線條，與作品中的墨彩，讓畫裡的景都活了過來。
李重重不遵循規則，讓她的藝術不是去服役於世俗的雙眼，她讓藝術去找知音、去找真正的有情人，去 喚起不需要大山大景也能展現內心自由氣度的人。
她讓文人寫意不再拘泥於自我呢喃框架中，從山水裡面，展現自我堅定卻也柔軟舒緩。她透過水墨走出 一條屬於文人抽象的繪畫語境，在細膩能述情、灑脫能寫意的雙重架構，藝術有了新我；創作有了新的 視覺性格。
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LEE Chung-Chung
Elegance of Landscape
Andante Cantabile – LEE Chung-Chung’s Abstract Art Written by Cheng Nai-Ming
When everything is left behind, I know, I will Forget you slowly. As the burden is released. Please, please forgive me. It is the law of life. To be wounded and to be healed, again and again. The world remains A garden waiting for my maturity, with its gentleness. The sky is so blue, and the trees are so green. Eventually, life can be Embraced by peace and beauty. Hsi Mu-Ren, The Zen Spirit II
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Andante Cantabile – LEE Chung-Chung’s Abstract Art
Lee Chung-Chung is a woman of few words, but her paintings speak out
E S S AY
everything she wants to say. When you look at her paintings and look at her as a person again, you will finally realize how her generosity creates the tranquil magnificence in her paintings. Lee’s ink-wash painting is neither kitsch nor vulgar. You hardly see the similar elegance in other painters’ works. Some boast of the greasy craftsmanship even in the beginning of their artistic career, while some cater to the public taste with flattering vulgarity right after they find success, copying the previous victory and being self-satisfied with the socalled “style.” Lee Chung-Chung is nothing like them. She is calm and poised. In her calm and poise, we feel peace. A peaceful mind brings beauty to the world – the intuitive beauty perceived by the inner mind. A calm mind reveals the refreshment of the artworks, as fresh as the words. The intuitive aesthetics is developed from the surroundings Lee Chung-Chung was born and raised in an age of tradition, submission, and obedience. Lee Chin-Yu, the father of Lee Chung-Chung, graduated from Beiping Art School as an art major in the early twenty century. In 1947, the four-yearold Lee Chung-Chung came to Taiwan with her parents. It was the second stage of the Chinese Civil War (the first stage was between 1927 and 1937, while the second stage began in 1945 and ended in 1950). The second stage of the Chinese Civil War, as a turning point in modern Chinese history, officially broke out in 1946, one year before the Lee family moved to Taiwan. In 1949, the Nationalist Government retreated to Taiwan. Within the two or three years, many families were separated by the geographic barrier as well as the political reality until they reached the end of their lives. The Lee Family was lucky among them. They did not suffer the tragedy of separation. After they came to Taiwan, they stayed in Tainan instead of Taipei. Lee Chin-Yu found a job at Taiyen’s Chiku Salt Farms, where Lee Chung-Chung spent her childhood.
A Message from Outside
1999 Ink and color on paper 67×68.5cm
Her childhood surroundings have played a major role in her future artistic exploration. Back in the days when war finally came to an end after breaking so many families into pieces, people were more willing to help each other to restore the peace of life instead of betraying or scheming against each other. After all, the disturbing era was like a filter to take friends or families apart. It required a lot of grace from Heaven to stay together. Lee’s father was a humble person. Although his new job in Taiwan had nothing to do with his training, he still maintained the habit of post-dinner painting. As for Lee Chung-Chung, she spent her days looking through the books and the catalogues her father carried all the way from China and enjoyed watching her father painting silently in the study room.
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LEE Chung-Chung
Elegance of Landscape
Art history scholar Hsiao Chong-Ray gives a vivid depiction of Lee Chung-Chung’s childhood personality in his book The Poised Elegance – Lee Chung-Chung’s Modern Ink-Wash Painting: “…on holidays or in the evening, Lee Chung-Chung would follow her brother to run barefoot on the white-sand beach… Lee sat alone on the beach, drawing some tiny figures; when the wind erased her drawing on the sand, the good-tempered kid would start all over again.” It also vividly explained her silent, gentle, and self-amusing personality when she grew up. Meanwhile, Lee Chung-Chung memorized that “in the fragrance of ink, Father was either standing or bowing to flatten the paper and to arrange the paints, and the background was the shining white salt farms outside the window.” The two paragraphs truthfully describe her inner mind and the outer surroundings, further validating how surroundings have subconsciously influenced her future artistic practice. In her works, liubai (the area left blank) is not merely the inheritance from traditional ink-wash painting, but also the evocation of the beautiful childhood memories, such as the blue sky, the salt mountains, and the sunshine, which travel across time to land on her papers, as soft as a bird. Moreover, one should not ignore the unique spirit in her painting. Unlike most of the landscape
A Story to Hear
2014 Ink and color on paper 113×96cm
paintings that try to be impressive with their grandeur in composition, Lee’s paintings follow the rule of “subtraction” in composition to emphasize the visual gravity through the psychological quality of the landscape. The charm of the landscape depends on the spirit engraved on viewers’ minds instead of the complexity or the simplicity of its composition. It should be like “the shaking caused by the elephant-stamping,” as how Lee describes it. I always believe that the artistic expression in her works is derived from the peaceful and self-contented life provided by her father who shared the same personality. It is why she does not appeal to the imposing manner of the form or the appearance but the inner spirit of the landscape to reveal the penetration and the influence of the soul. Tradition is the motivation for artistic thinking History is another crucial factor in Lee’s artistic practice. In 1968, Lee joined Chinese Ink Painting Study Association, an organization advocated by Liu Kuo-Sung to challenge the ink-wash painting tradition with new thoughts. However, the most valuable and the softest part of Lee’s artworks is the nutrition derived from tradition. It is the strong and solid foundation supporting her to explore a new artistic vocabulary. The so-called innovation is nothing but a fragile mask with faked attack if it does not carry the tradition with it. Lee’s father Lee Chin-Yu used to be a landscape painter who based his works on tradition. When Lee Chung-Chung was a student in the Department of Fine Arts at Fu Hsing Kang College, she studied bird-and-flower painting with Shao You-Xuan, landscape painting with Fu Chuan-Fu, and Western painting with Lin Ko-Kung. In my opinion, the “relatively traditional” training helped
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Andante Cantabile – LEE Chung-Chung’s Abstract Art E S S AY
Lee to build up a strong basis for her later works. Lee also states that studying Western painting with Professor Lin Ko-Kung has opened up a window for her to reach the unreachable and to experience the visual variety offered by various materials. Lee’s artistic innovation is not motivated by the attempt to innovate, but an exploration inspired by the essence of traditional painting in her artistic training. It is why I believe tradition, cultivated from history, is another irreplaceable factor in Lee’s artistic practice. The rich inheritance of history and tradition provides her with a greater support in her expression, allowing her to acknowledge and to respond the changes, innovations, transformation, and heritage in modern/contemporary art. If she did not have a foundation like it, the so-called innovation would mean nothing but merely cater to others’ expectation rather than pushing the inner limit to the extreme. From her family life to school, the training never taught her the skill of kitsch decoration. The traditionoriented training has given her the most powerful push when she tried to locate herself in the world of art. Take her painting Family Photo (2013) for example, the work fully demonstrates how Lee skillfully mixes the practice of tradition with innovative approach. In traditional Chinese ink-wash painting, the composition based on single-color ink or multi-color ink patches is rarely seen. In Family Photo, however, Lee does not directly capture the natural surroundings where the bird family live. The natural scenery depicted with color patches in green, yellow, red, or black further emphasizes the contemporary quality of her work. Meanwhile, the details of the natural environment are visualized through her exquisite use of traditional skills, such as the perfect layers of ink-wash or the rapid strokes with broad brushes. Apart from how she renders the flow of time beyond the natural scenery, Lee also uses simple lines, painted with dried brush strokes, to contradict and to respond to the three-dimensional color patches derived from the Western painting tradition. The conflict and the juxtaposition between the two liberate the painting from the existing frame for a similar subject. Suddenly, a ray of light appears. Everything in the image is brought back to life, while every twist is dealt with intactness, delicacy, and joy. Her brushes turn the ink into lines, structures, media, and emotions… I still remember that Hsi Mu-Ren has once said in her poem The Lonely Traveler (1985) that “life, as well as artworks, does not have specific appearance, no specific location, and no imperative rule to follow… Rules are only for lazy and coward travelers, because as long as they follow the road signs, they probably won’t find the truth about life but they can definitely catch the blurred shape.” Hsi’s words seem perfectly describe Lee’s attitude toward art.
Late Spring
2015 Ink and color on paper 53×48cm
Throughout Lee’s life, she has witnessed the transformation from an age of tradition to the modern time. If we all agree that what she has inherited from the tradition is not a baggage but
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LEE Chung-Chung
Elegance of Landscape
a living spirit, then innovation brings her the freedom of imagination. One is the flying wings while the other is the wind supporting the wings, allowing the artist completely break away from the existing conventions. Lee is known for her use of ink, through which she skillfully deals with the composition of her every painting. She makes ink more than just ink, but the lines, structures, media, or even emotions in her works. In the painting Pure Space (2015), Lee depicts the ridges of the mountains with ink. There is no clear distinction between the contours and the ink, but the repetitive and progressive strokes further reveal the layers of the landscape and push the stretching ridges forward as if they were the rays of light transmitting one’s nostalgia. Here, Lee’s brush skills are indeed amazing. The brushes become the embodiment of her emotions, subtly balancing the intensity of the image and releasing its momentum in a self-immersive way. The touch of yellow in the area left blank spotlights the subject, unveiling the self-effacing disturbance hidden within the inner poise. The light yellow and the gray ink lean on each other, like a floating feather finally resting on your palm. The humming resonance and the crystal-clear rise-and-turn welcome the sustaining quietness.
Imaginary Dreamland
2013 Ink and color on paper 66×68.5cm
Lee has once expressed her love for Chao Chung-Hsiang’s art, which has somehow influenced Lee’s artistic practice. In my opinion, however, the two artists, owing to their different backgrounds and the different generations they belong to, have their respective appeals. Chao’s life was full of twists and turns, which turned him into a philosopher who experienced the world like an old man. His artworks showed overwhelming complicacies, as dramatic as historical fictions or literary works with unavoidable lamentation. Lee’s works are more like poems. It can be traced back to her family background and the surroundings. Powerful but not aggressive, her works are neither provocative nor catering to viewers with visual pleasure. Instead, viewers are pacified by the peaceful and tranquil joy in her paintings. In Mutual Love in 2008, we see the round and solid strokes as well as the cute simple shapes. Chao might have also tried similar subject, but Chao would have immersed his stokes in the thick suffocating depression overburdened with expectation. On the contrary, Lee carries the brushes as she climbs one mountain after another just for the refreshing breeze. Art is the reflection of one’s mind – Lee is the best proof. Her art is not to serve the eyes of the mundane world Lee Chung-Chung loves traveling. She also loves “collecting” the natural scenery through her eyes. For most of the artists, landscape painting is not a difficult task. However, it is not easy to capture the spirit of the scene. Lee seldom looks for an all-inclusive representation of the landscape but visualizes her own inner landscape through the realistic scene. Because of her free imaginative and unrestrained heart, the images she composes are also full of the living spirit from the Nature
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Andante Cantabile – LEE Chung-Chung’s Abstract Art E S S AY
rather than a copy of reality. Because of her gentle personality, there is no sharpness in the contours in her works. She seldom uses dark ink, for that she always paints with light ink in layers to render the different intensity. The mutually-reflective or overlapped gradation creates the rhythm of ink. It is like the floating and moving mist in the mountain that has its own opinion. In Mother Earth (2014) and Through Time and Space (2015), you will see how Lee stirs the ink once stagnated in the tradition. Ink, in the images she has created, reveals the suppressed feelings and the implicit emotions of the artist. It is like when she depicts the faint fragrance of lotus leaves or the withered yellow spreading around the autumn hill that Lee can always visualize the summer breeze softly caressing the lotus leaves and, as the leaves are removed, the startled fish hidden beneath, or the tinkling sound in the autumn forest through the whisper between the ink and the dried brush. What you see becomes what you hear. The flow of ink and the soft touch of the dried brush bring the images in her paintings to life. Lee Chung-Chung never limits herself with conventions and rules. Her art is not to serve the eyes of the mundane world. Instead, through her art, she is searching for the persons who share the same passion for the world, evoking the free minds beyond the magnificent landscape. She liberates the artists’ expression from the murmuring selfindulgence. Her landscape painting shows her persistence that is surprisingly soft and relaxing. Her ink-wash works establish a new painting style of intellectual abstract art. Delicate and yet expressive, the free and spontaneous duality reveals the new ego of art as well as the different charm of visuality.
Through Time and Space
2014 Ink and color on paper 136×139cm
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LEE Chung-Chung
Elegance of Landscape
重重山影重重春 ─李重重的水墨新作 文 / 國立成功大學歷史系所教授 蕭瓊瑞
來自傳統水墨畫家的家庭，李重重 (1942-) 卻在 1970 年代，也就是台灣現代水墨運動正達高峰的年代，成為最重要的成員之一，且作品 被評論家稱美為「有根的現代」；在傳統與現代、古典與前衛，乃至西方與東方的矛盾衝突間，李重重以她特有的敏感與智慧，成功地化 解了兩者的對立，進而融和了彼此的優點。因此，她的作品，始終散發著沈實穩重的傳統氣韻，讓人看到筆墨層疊的深蘊美感；又洋溢著 輕靈巧韻的現代氣息，畫面充滿靈變無窮、生機不盡的造型巧思。李重重突破了當時男性藝術家，以大筆墨韻狂放書寫的類山水構成，展 現了蒼勁與柔美共現的溫婉特質，在看似不經意的流轉筆韻中，構築了動靜相參、墨彩相融、人文與自然並呈的絕妙創作。
李重重曾說：『我希望作品能有大象重重跺腳時那樣的震動。』這種沈甸甸的震動，不是外顯的，而是內斂的；其根本就是來自早年父親 李金玉先生給她的傳統書畫訓練。童年時期幾近嚴苛的訓練，成為她生命底層的一種修為與基因，而非年長後學院教學所能給予的純粹技 巧與知識。
自 1980 年代以來，李重重已然是台灣現代水墨畫家中一座鮮明的標竿，在許多重要的國際聯展中，她的作品多次被選刊為海報的主視覺； 而李重重積極卻不張揚、溫婉卻不柔弱的個性，在優雅的舉止中，時時展現堅定且深入的態度與見解。她認為：「水墨」不只是一種物質 的媒材或單純的繪畫技法，而是一種思想的展現，也是一種獨立人格化的映照；它應是創作者內在感悟與心靈思維的延續，蘊藏著詩情畫
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Overlapping Hillshades, Endless Spring – New Ink Work by LEE Chung-Chung E S S AY
幻境 2015 水墨設色、紙本 95×250cm
意，充滿感動與生命力，且富含濃厚的民族文明情感。(1998) 李重重看似即興、隨意的創作，其實往往帶有系列性的主題思考；例如她也曾以「人」為主題，進行過系列性的創作探討。2008 年以來的 新作，李重重的作品，顯然在生命的流轉中，有著一種成熟、滿足，卻又重新出發、春意盈然的喜悅感；在以自然為題材的永恆課題中， 重重山影、重重春，李重重以一種舒緩、滿足的心情，望山有情、臨風有感，慢步行旅、靜坐凝思。以如歌的行板，在起風的日子，聽風 的歌、聽古老的故事，時而凝思、時而雲夢、時而有偶遇的驚喜，生命顯然沒有了負擔，只有滿滿的親情與關懷，這是生命旅程中的另一 個春天。
李重重的創作，長期以來，不繪山水，卻有山影的浮動，不畫花卉，卻有季節的流轉，穿越時空皆有情，接近方形的構圖，是她長期以來 的自我挑戰，而近期除了四聯屏、純墨韻的〈大地之母〉外，也有〈清流〉、〈幻境〉的橫長軸構成，在在展現氣韻緜亙的律動之美。這 也是喜愛旅遊的李重重，以生命凝鍊的成果。
李重重是台灣重要的現代水墨畫家，但回到現實，她也是一位倍受上帝眷寵的女人：集美麗與才情於一身，集溫柔與堅毅於一身；年輕時， 有父親的庇蔭，父女聯展；年長後，有不懂藝術卻熱愛藝術的先生，給予的全力支持；如今，長子晧剛也是藝壇的新星，母子同台展藝。 而這種上天的眷寵，魚與熊掌得兼的幸福，也就讓人更能理解李重重近期創作的心情與泉源，凝視生命、靜觀自然，重重山水、重重春， 遠山近水皆有情。 17
LEE Chung-Chung
Elegance of Landscape
Overlapping Hillshades, Endless Spring – New Ink Work by LEE Chung-Chung
Written by Hsiao Chong-Ray, Professor at the Department of History at National Cheng Kung University
Lee Chung-Chung (1942-) came from a traditional ink painter’s family, yet when Taiwan's modern ink movement reached its peak during the 1970s, she became one of its most influential members. Reviewers praised her work for being, ‘modernity with roots’. Between the traditional and the modern, the classical and the avant-garde, between East and West, Lee Chung-Chung is famed for her unique sensitivity and wisdom in successfully resolving conflict, integrating to mutual advantage. Thus, her works exude a pragmatic but prudently traditional charm, showing people the deep beauty of gradational ink. Modernity, lightness, wit, and poetic ingenuity characterize her work, filling her composition with infinite spirit and endless vitality. Lee transcended the male artists at that time, her wild written and landscape ink compositions a blend of the vigorous and the gentle. With a seemingly casual and flowing brush, Lee's wonderful creations present coherent movement, blending inks, and the harmonizing of human and nature. Lee Chung-Chung said: “I hope my work can have that kind of vibration, like that caused by an elephant’s heavy stomping.” This kind of heavy vibration is not explicit but restrained, based on the traditional painting and calligraphy training received from her father, Lee Jin-Yu. The almost harsh training of her childhood became a kind of underlying cultivating element in her life, as opposed to the purity of knowledge given by academic education to grown ups. Lee Chung-Chung represents a high water mark among Taiwan modern ink painters after the 1980s. Her works have been selected as the key visual of many posters in many important international joint exhibitions. Lee’s positive yet unassuming, gentle but never weak personality, always shows her firm, thoughtful attitudes and opinions, expressed through her elegant manners. She believes ‘ink’ to be not merely a matter of medium or painting technique, but the representation of ideas and personification of mapping the self. It is a continuation of the creators’ inner feeling and spiritual thinking, laden with poetry,
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Overlapping Hillshades, Endless Spring – New Ink Work by LEE Chung-Chung E S S AY
moving and full of vitality, and embracing a rich ethnic cultural emotion. (1998) Lee’s seemingly impromptu and casual creation, actually often comes with a series of theme reflections: for example she once used ‘people’ as the theme for carrying out a series of discussions about creation. Lee Chung-Chung’s new creations post-2008 have grown in maturity and satisfaction, but also represent a new start, a sense of joy full of Spring in the air. In her works relating to the natural theme of the eternal subject, there are typically overlapping hillshades and an endless Spring. Lee carries her ease and satisfaction to gaze upon the mountain with affection, feel the wind’s breeze, ramble upon paths, and sit in meditation. Like an andante cantabile, the wind sings on windy days, listens to old stories, sometimes meditating, sometimes dreaming, sometimes enjoying occasional surprises. Life has no burden, is but full of affection and care, another Spring on the journey. For a long time, Lee Chung-Chung’s creations have had hillshades floating, without painted landscapes, representing the circulation of the seasons without drawing flowers, emotion in every moment and space. Approximating square Distance
2015 Ink and color on paper 53×47.5cm
composition has been her self-appointed challenge for a long time. In addition to the quadruple painted screen, and the pure ink of ‘the Mother of Earth’, her recent works also include horizontal scroll paintings such as ‘Clear Stream’ and ‘Mirage’. All of them show the continuous grandeur and beauty of rhythmic movement. It is also an achievement that comes from Lee’s vitality, her love of travel. Lee Chung-Chung is an important contemporary ink painter in Taiwan. In fact, she is also a woman much favored by God’s generosity. She is not only beautiful and talented but also gentle and determined, all in one. She had a fatherdaughter joint exhibition under her father’s tutelage when she was young; when older, she met her husband, an art lover who gives her his full support; now, her eldest son, Hao-Gang, is also a rising star in the artistic arena, sharing the same stage as his mother. God’s favor, the happiness of a satisfied life: Lee’s feelings are the inspiring source of her creation, the focus on life, the observation of nature, overlapping hillshades, endless Spring, the far away mountains and the nearby water, are somehow all sentient.
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LEE Chung-Chung Elegance of Landscape
山水風華
創作自述
文 / 李重重
年過七十歲的歲月將人生看得淡泊、自然。在繪畫創作中帶來平靜和喜悅，在藝術旅程中已走了數十年， 甘苦自知，仍繼續走下去。我是在南台灣鄉下成長的孩子，聽從父母的教導，父親教導繪畫，時時感恩在 心中。
回想 1960 年進大學藝術系—修油畫和水彩、素描國畫等等，當時最新印象派如梵谷和野獸派馬諦斯之作 品，學習階段約三、四年。學業結束後繼續畫了兩三年油畫，深受油畫所表現出厚重的質感與氣質。當時 又發覺了傳統國畫中的一些問題思考一段日子。在 1968 年當時在台北參加劉國松老師主持的「中國水墨 畫會」，有感於和自己性情相近的吸引力，終於投身於現代水墨畫的創作研究，慢慢發覺水墨更具發展的 潛力。
日後也曾在水墨—彩墨—水墨之間不停地變化試驗，傳統的筆法與半自動性技法混合應用，草書的線點與 西畫的面配合著，以求達到心意中預期的效果，用自然人文的思路從寫實—具象—半具象—抽象之間來回 的過程，吸收傳統精神、並不斷實驗轉化，建立起自己獨立的思考。
此次有幸來尊彩藝術中心個展，感謝余彥良董事長、陳菁螢總經理及各位同仁支持、愛護，更要感謝蕭瓊 瑞教授與好友鄭乃銘先生在百忙中寫專文，衷心感激。
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Elegance of Landscape Artist Statement
Elegance of Landscape Written by
Artist Statement
LEE Chung-Chung
Having lived more than seventy years of my life, now I value nothing more than the inner peace of life. After decades I have spent in the world of art, the joy and tranquility of art-making are my best rewards to stand firm in front of difficulties and challenges. As a child growing up in the countryside of Southern Taiwan, I would have achieved nothing without the guidance of my parents, especially my father who taught me how to paint. I still remember when I was an art student in college in the 1960s, I had spent three or four years studying oil painting, drawing, Chinese painting, and the Impressionist works such as the paintings by Vincent van Gogh or Henri Matisse. After graduating, I spent two or three more years polishing my oil painting skill, and was fascinated by the solid elegance of it. Around that time, I had some reflections on traditional Chinese painting. In 1968, I joined Chinese Ink Painting Study Association, an art organization led by Liu Kuo-Sung. I found modern ink-wash painting attractive in how it resembled my personality, so I was determined to devote my life to the practice of ink-wash. Soon, I gradually noticed the potentiality of it, through which I continuously worked with ink-wash and color-ink to explore various possibilities. To find the most ideal means, I tried to combine traditional strokes and semi-automatic technique or to put the calligraphic contours from cursive script and the composition of planes in Western paintings together. The repetitive journey from the realistic, the figurative, the semi-figurative, to the abstract allows me to adopt the perspective of humanity to absorb the traditional spirit, and to transform it into my independent thinking. My special thanks to Yu Yen-Liang, the president of Liang Gallery and Managing Director Chen Ching-Ying who helped to organize the exhibition. I would also like to express my appreciation to the fellow colleagues, without whose support the exhibition would not have been made possible, as well as my friends Professor Hsiao Chong-Ray and Cheng Nai-Ming with the articles they have written.
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外來的訊息 A Message from Outside 1999 水墨設色、紙本 Ink and color on paper 67×68.5cm
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景 View 2003 水墨設色、紙本 Ink and color on paper 225×212cm
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荷 Lotus 2003 水墨設色、紙本 Ink and color on paper 68.5×67.5cm
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迎風 Into the Wind 2003 水墨設色、紙本 Ink and color on paper 35×45cm
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山情悠悠 Restful Mountain 2003 水墨設色、紙本 Ink and color on paper 35×58cm
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隱冬
秋花點點頭
Winter Hibernation
Bits of Autumn Blossoms
2002 水墨設色、紙本 Ink and color on paper 35×35cm
1999 水墨設色、紙本 Ink and color on paper 45×35cm
秋如醉
淨土
Fall Euphoria
Clean Land
2003 水墨設色、紙本 Ink and color on paper 35×45cm
2003 水墨設色、紙本 Ink and color on paper 35×35cm
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寒露之二
雙飛
Cold Fog 2
Close Union
2002 水墨設色、紙本 Ink and color on paper 45×35cm
1995 水墨設色、紙本 Ink and color on paper 34×44cm
春意
霜降
Spring in the Air
Frost's Descent
2000 水墨設色、紙本 Ink and color on paper 35×45cm
2003 水墨設色、紙本 Ink and color on paper 44.5×34.8cm
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相親相愛 Mutual Love 2008 水墨設色、紙本 Ink and color on paper 68.5×67.5cm
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二分之一綠 Half Green 2009 水墨設色、紙本 Ink and color on paper 67×68.5cm
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人間有愛
春水
Love in the World
Spring Water
2005 水墨設色、紙本 Ink and color on paper 45×34.3cm
2008 水墨設色、紙本 Ink and color on paper 34.5×33.5cm
春分
小築伴雲閒
Spring Equinox
House by the Cloud
2013 水墨設色、紙本 Ink and color on paper 41×34.5cm
2009 水墨設色、紙本 Ink and color on paper 35×35cm
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岩的呼喚 Call of Rock 2011 水墨設色、紙本 Ink and color on paper 69×69cm
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山隅寄情 Hill Side Affection 2013 水墨設色、紙本 Ink and color on paper 69×69cm
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春訊 Spring is Almost Here 2013 水墨設色、紙本 Ink and color on paper 69×69cm
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春臨 Spring's Arrival 2013 水墨設色、紙本 Ink and color on paper 69×69cm
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生命的過客 Guests in Life 2013 水墨設色、紙本 Ink and color on paper 90×90cm
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世外禪 Zen Beyond the World 2013 水墨設色、紙本 Ink and color on paper 69×69cm
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白露 White Dew 2013 水墨設色、紙本 Ink and color on paper 69×69cm
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空間的沉思 Meditation of Space 2014 水墨設色、紙本 Ink and color on paper 91×120cm
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逸境 Realm of Fancy 2014 水墨設色、紙本 Ink and color on paper 122×122cm
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蝴蝶效應 Butterfly Effect 2014 水墨設色、紙本 Ink and color on paper 96×106cm
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歲月的沈思 Contemplation of Time 2013 水墨設色、紙本 Ink and color on paper 69×69cm
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望山有情 Looking for Passion 2013 水墨設色、紙本 Ink and color on paper 89.5×89cm
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桃園夢境 Imaginary Dreamland 2013 水墨設色、紙本 Ink and color on paper 66×68.5cm
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雲想 Illusion 2014 水墨設色、紙本 Ink and color on paper 69×67.5cm
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春音 Spring Sounds 2014 水墨設色、紙本 Ink and color on paper 89.5×90cm
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六月在南方 June in the South 2014 水墨設色、紙本 Ink and color on paper 89.5×89.5cm
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時空 Space and Time 2014 水墨設色、紙本 Ink and color on paper 90×90cm
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山影凍 Frozen Mountain Shadows 2014 水墨設色、紙本 Ink and color on paper 90×90cm
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聆聽的故事 A Story to Hear 2014 水墨設色、紙本 Ink and color on paper 113×96cm
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玄思 Profoundness 2014 水墨、紙本 Ink on paper 136×69cm
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大地之母 Mother Earth 2014 水墨、紙本 Ink on paper 136×276cm
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穿越時空 Through Time and Space 2014 水墨設色、紙本 Ink and color on paper 136×139cm
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隨風的歌
春醒
The Wind's Song
Spring Awakening
2014 水墨設色、紙本 Ink and color on paper 53×46cm
2014 水墨設色、紙本 Ink and color on paper 53×47.5cm
凝思
春分
Meditation
Chunfen
2015 水墨設色、紙本 Ink and color on paper 53.5×47.5cm
2014 水墨設色、紙本 Ink and color on paper 48×53cm
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清境 Pure Space 2015 水墨設色、紙本 Ink and color on paper 94.5×250cm
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幻境 Dreamland 2015 水墨設色、紙本 Ink and color on Paper 95×250cm
遠方 Distance 2015 水墨設色、紙本 Ink and color on paper 53×47.5cm
92
天空 Sky 2015 水墨設色、紙本 Ink and color on paper 54.5×47.5cm
93
94
對話
墨客行途
Conversation
Literati Journey
2013 水墨設色、紙本 Ink and color on paper 47×53.5cm
2014 水墨、紙本 Ink on paper 47.5×53cm
雲夢
起風的日子
A Cloudy Dream
Windy Day
2015 水墨設色、紙本 Ink and color on paper 52.5×47.5cm
2015 水墨設色、紙本 Ink and color on paper 47×53cm
95
近水遠山皆有情 Passion in Water and Mountains 2015 水墨設色、紙本 Ink and color on paper 109×96cm
96
98
微風
晚春
Breeze
Late Spring
2012 水墨設色、紙本 Ink and color on paper 29.5×38.8cm
2015 水墨設色、紙本 Ink and color on paper 53×48cm
雲山如夢
回望
Dreamy Clouds and Mountains
Looking Back
2014 水墨設色、紙本 Ink and color on paper 45.5×44.5cm
2015 水墨設色、紙本 Ink and color on paper 53.5×47.5cm
99
偶遇 An Encounter 2015 水墨、紙本 Ink on paper 54×47.8cm
100
聽風的歌 Listen to the Wind Song 2015 水墨、紙本 Ink on paper 108×96cm
102
LEE Chung-Chung
李重重
Elegance of Landscape
1942 年出生於中國安徽屯溪
年
表
1965
政戰學校藝術系畢業，台北，台灣
1971
於凌雲畫廊水墨舉行個展，台北，台灣
1975
於美國文化中心舉行個展，台北，台灣
1978
於龍門畫廊舉行水墨個展，台北，台灣
1981
「中國現代繪畫趨向展」，賽紐斯基博物館，巴黎，法國
1984
於美國文化中心舉行個展，台北，台灣
1985-93
「第一屆至第九屆－亞洲國際美展」，漢城，韓國
1986
於大家藝術中心舉行個展，台北，台灣 「中國傳統繪畫之新潮流」，凡爾賽宮，巴黎，法國
1988
「台灣當代藝術創作展」，聖荷西埃及博物館，加州，美國
1990
於亞洲藝術中心舉行個展，馬利蘭州，美國
1991
於台北市立美術館舉行個展，台北，台灣
1992
於有熊氏藝術中心舉行個展，台北，台灣
1993
「中國現代墨彩畫展」，俄羅斯民族博物館，俄羅斯 「台北現代水墨畫」，上海美術館，中國
1994
於國立歷史博物館舉行個展，台北，台灣 「中國現代水墨畫大展」，台灣省立美術館（今國立台灣美術館），台中，台灣
1998
於國際藝展空間舉行水墨個展，台北，台灣 「今日大師與新秀大展－台灣當代抽象藝術新風貌」，巴黎，法國
2001
於東海大學藝術中心舉行水墨個展，台中，台灣
2003
「亞洲國際美展」，香港，中國 「台灣現代水墨畫展」，北京國家博物館，北京，中國
2004
「台灣現代水墨畫展」，青島博物館，廣東，中國
2005
「關渡英雄誌台灣現代美術大展」，國立台北藝術大學，台北，台灣
2006
「李重重心象水墨個展」，國父紀念館逸仙藝廊，台北，台灣
2007
於國立雲科大藝文中心舉行水墨個展，雲林，台灣 「台灣水墨畫精品展」，東京國立新美術館，東京，日本 「第三屆成都雙年展│特別邀請展：水墨新動向－台灣現代水墨畫展」，成都， 中國 「水墨變相－現代水墨在台灣」，台北市立美術館，台北，台灣
2008
於台南縣立文化中心舉行水墨個展，台南，台灣 於天使美術館舉行水墨個展，台北，台灣 「第二屆台北當代水墨雙年展」，台北市立美術館，台北，台灣
2009
「開顯與時變－當代創新水墨藝術展」，台北市立美術館，台北，台灣 「中國全國美展」，北京，中國
104
Curriculum Vitae
2011
「李重重現代水墨個展」，新時空文化時空藝術會場，台北，台灣
獲
獎
「百歲百畫－台灣當代畫家邀請展」，國父紀念館中山畫廊，台北，台灣 2012
「台北國際藝術博覽會」，新時空文化，台北，台灣
中國文藝協會現代水墨創作獎，台灣
「無美不作－李重重現代水墨個展」，藝星藝術中心，台北，台灣
國立歷史博物館金質獎章，台灣
「國際水墨大展暨學術研討會」，國父紀念館中山畫廊，台北，台灣 2013
「墨染心韻－李重重個展」，貝瑪畫廊，台北，台灣
典
藏
「亞洲國際美術展覽會」，拉加達曼仁當代藝術中心，曼谷，泰國
2014
「當代中國畫學術論壇暨學術展」，國父紀念館中山畫廊，台北，台灣
國立歷史博物館，台灣
「台灣美術家『刺客列傳』1941-1950 三年級生」，國立台灣美術館，台中，台灣
台北市立美術館，台灣
「台灣現當代女性藝術五部曲 1930-1983」，台北市立美術館，台北，台灣
高雄市立美術館，台灣
「山水現象－李重重個展」，赤粒藝術，台北，台灣
國立台灣美術館，台灣
「跨地域的水墨經驗－上海新水墨藝術大展」，喜瑪拉雅美術館，上海，中國
亞洲藝術中心，馬利蘭州，美國
「典藏奇遇記－藝享天開詩與樂」，高雄市立美術館，高雄，台灣
福岡美術館，日本
「女人－家：以亞洲女性藝術家之名」，高雄市立美術館，高雄，台灣
青島美術館，中國
「抽象．符碼．東方情－台灣現代藝術巨匠大展」，尊彩藝術中心，台北，台灣
國內外私人收藏
「典藏 對話：演繹台灣當代水墨」，高雄市立美術館，高雄，台灣 「高雄藝術博覽會」，翰品酒店、駁二藝術特區，高雄，台灣 「台灣美術散步道：1927-2014」，尊彩藝術中心，台北，台灣 「三月三日天氣新」，尊彩藝術中心，台北，台灣 2015
「台南藝術博覽會」，台南大億麗緻酒店，台南，台灣 「山水風華」，尊彩藝術中心，台北，台灣
經
歷
高雄市立美術館典藏諮詢委員，高雄，台灣 高雄獎水墨膠彩類評審委員，高雄，台灣 國立台灣美術館水墨類展覽評審委員，台中，台灣 台北市立美術館展覽評議委員，台北，台灣 國父紀念館展覽審議委員，台北，台灣 全國美術展水墨類評審委員，台北，台灣 全國美展、台北縣美展評審委員，台北，台灣 南瀛藝術獎水墨類評審委員，台南，台灣 南瀛獎雙年展水墨類評審委員，台南，台灣
105
LEE Chung-Chung
Elegance of Landscape
2003
LEE Chung-Chung
“Asian International Ar t Exhibition”, Hong Kong, China “Taiwan Modern Ink Paintings Exhibition”, National Museum of Beijing,
1942 born in Anhui, China
Beijing, China 2004
“Taiwan Modern Ink Paintings Exhibition”, Qingdao Ar t Museum, Guangdong, China
2005
“Kuan-Tu Heroes Chronicle – Taiwan Modern Ar t Exhibition”, Taipei National University of the Ar ts, Taipei, Taiwan
CHRONOLOGY 1965
Graduated from the Depar tment of Fine Ar ts, Fu Hsing Kang College, Taipei, Taiwan
1971
Solo exhibition of ink paintings, Ling Yun Gallery, Taipei, Taiwan
1975
Solo exhibition, American Cultural Centre, Taipei, Taiwan
1978
Solo exhibition of ink paintings, Lung Men Gallery, Taipei, Taiwan
1981
“Exhibition on Trends of Modern Painting in China”, Cernuschi
2006
Sun Yat-Sen Memorial Hall, Taipei, Taiwan 2007
Solo exhibition, American Cultural Centre, Taipei, Taiwan
1985-93
“The 1st-9th Asian International Ar t Exhibition”, Seoul, Korea
1986
Solo exhibition, Dachia Ar t Center, Taipei, Taiwan “New Trends in Chinese Traditional Painting”, Versailles, Paris, France
1988
“Taiwan Ink Painting Treasures Exhibition”, National Ar t Center, Tokyo, Japan “The 3rd Chengdu Biennale | Special Invitation – New Trend of Contemporar y Ink Painting: Ink Wor ks from Taiwan”, Chengdu Contemporary Ar t Museum, Chengdu, China “Ink Transformation – Modern Ink Painting”, Taipei Fine Ar ts Museum, Taipei, Taiwan 2008
Solo exhibition of ink paintings, Angel Ar t Gallery, Taipei, Taiwan
Egyptian Museum, California, USA Solo exhibition, Asian Ar t Centre, Maryland, USA
1991
Solo exhibition, Taipei Fine Ar ts Museum, Taipei, Taiwan
1992
Solo exhibition, H&W Ar t Centre, Taipei, Taiwan
1993
“Chinese Modern Ink-and-Color Paintings Exhibition”, Folk Museum of Russia National Museum, Russia “Taipei Modern Ink Paintings Exhibition”, Shanghai Ar t Museum, China
1994
“The 2nd Taipei International Modern Ink Painting Biennial”, Taipei Fine Ar ts Museum, Taipei, Taiwan 2009
“China Ar t Exhibition”, Beijing, China 2011
“100 Taiwan Contemporar y Invitational Exhibition”, Zhongshan Ar t Gallery of National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan
of Fine Ar ts (now National Taiwan Museum of Fine Ar ts), Taichung, Solo exhibition of ink painting, International Ar t Exhibition, Taipei,
“Ar t Taipei 2011”, Spacial and Timing Ar ts, Taipei, Taiwan 2012
Images of Taiwan Contemporary Abstract Ar t”, Paris, France 2001
Solo exhibition of ink painting, Tunghai University Ar t Gallery, Taichung, Taiwan
Solo exhibition of ink paintings, Star Gallery, Taipei, Taiwan “International Ink Painting Exhibition and Symposium”, Zhongshan Ar t
Taiwan “Exhibition of Works by Today’s Masters and New Talents – Refreshing
Solo exhibition of modern ink paintings, Star ts Studio of Spatial & Timing Ar ts, Taipei, Taiwan
“Chinese Modern Ink Paintings Exhibition”, Taiwan Provincial Museum
1998
“Open Flexibility: Innovation Contemporary Ink Ar t”, Taipei Fine Ar ts Museum, Taipei, Taiwan
Solo exhibition, National Museum of History, Taipei, Taiwan
Taiwan
Solo exhibition of ink paintings, Ar t Center of Tainan County, Tainan, Taiwan
“Taiwan Contemporar y Creative Ar t Works Exhibition”, San Jose
1990
Solo exhibition of ink paintings, Ar t Center of Yunlin University of Science and Technology, Yunlin, Taiwan
Museum, Paris, France 1984
“Ink Painting of Lee Chung-Chung”, Yat-Sen Galler y of National Dr.
Gallery of Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan 2013
“L’encre de Chine, Chant du Coeur – Solo Exhibition of Ink Paintings”, Pemalamo Gallery, Taipei, Taiwan “Asian International Ar t Exhibition”, Contemporary Ar t Center LAC Dammam, Jen, Bangkok, Thailand “Contemporar y Chinese Painting Academic Forum and Academic Exhibition”, Zhongshan Ar t Gallery of Dr. Sun Yat-Sen Memorial Hall,
106
Curriculum Vitae
2014
Taipei, Taiwan
County Ar t, Taipei, Taiwan
“The Pioneers of Taiwanese Ar tists, 1941-1950”, National Taiwan
Examination Committee for the Category of Ink Paintings at
Museum of Fine Ar ts, Taichung, Taiwan
the Nan-Ying Ar t Award, Tainan, Taiwan
“Women Adventurers: Five Eras of Taiwanese Ar t 1930-1983”, Taipei
Examination Committee for the Category of Ink Paintings at
Fine Ar ts Museum, Taipei, Taiwan
the Nan-Ying Biennial Ar t Award, Tainan, Taiwan
“Landscape Impressions – Solo Exhibition of Ink Paintings”, Red Gold Fine Ar t, Taipei, Taiwan
AWARDS
“On-site: Cross-contextual Ink Ar t Experience – Parallel Exhibition of Shanghai New Ink Painting Ar t Exhibition”, Shanghai Himalayas
Modern Creative Ink Painting Award, Chinese Writers’ &
Museum, Shanghai, China
Ar tists’ Association, Taiwan
“Mar velous Encounters in the Collection: On Wings of Music and
Gold Award, National Museum of History, Taiwan
Poetry”, Kaohsiung Museum of Fine Ar ts, Kaohsiung, Taiwan “Women – Home: In the Name of Asian Female Ar tists”, Kaohsiung Museum of Fine Ar ts, Kaohsiung, Taiwan
COLLECTIONS
“Abstract / Symbol / Oriental – Exhibition of Taiwan's Masters of
2015
Modern Ar t”, Liang Gallery, Taipei, Taiwan
National Museum of History, Taiwan
“Collection and Dialogue – Taiwan’s Contemporar y Ink Painting”,
Taipei Fine Ar ts Museum, Taiwan
Kaohsiung Museum of Fine Ar ts, Kaohsiung, Taiwan
Kaohsiung Museum of Fine Ar ts, Taiwan
“Walking by Taiwanese Ar t: 1927-2014”, Liang Gallery, Taipei, Taiwan
Xiamen Ar t Museum of the Chinese, China
"Freshness of March", Liang Gallery, Taipei, Taiwan
National Taiwan Museum of Fine Ar ts, Taiwan
“Ar t Tainan”, Tayih Landis Hotel, Tainan, Taiwan
Asia Ar t Center, Maryland, USA
“Elegance of Landscape – Lee Chung-Chung Solo Exhibition”, Liang
Fukuoka Ar t Museum, Japan
Gallery, Taipei, Taiwan
Qingdao Ar t Museum, China Xiamen Ar t Museum of the Chinese, China
EXPERIENCE
International and Domestic Collectors
Advisory Committee for Kaohsiung Museum of Fine Ar ts, Kaohsiung, Taiwan Examination Committee for Kaohsiung Awards, Kaohsiung, Taiwan Evaluation Committee for Exhibitions held at the National Taiwan Museum of Fine Ar ts, Taichung, Taiwan Evaluation Committee for Exhibitions held at the Taipei Fine Ar ts Museum, Taipei, Taiwan Evaluation Committee for Exhibitions held at the National Dr. Sun Yat-Sen Memorial Hall, Taipei, Taiwan Examination Committee for National Ar t Exhibition, Taipei, Taiwan Examination Committee for National Ar t Exhibition and Taipei
107
LEE Chung-Chung
Elegance of Landscape
圖 錄 Catalog
108
外來的訊息 A Message from Outside
隱冬 Winter Hibernation
1999
2002
Ink and color on paper
Ink and color on paper
67×68.5cm
35×35cm
p. 23
p. 30
景 View
秋花點點頭 Bits of Autumn Blossoms
2003
1999
Ink and color on paper
Ink and color on paper
225×212cm
45×35cm
p. 25
p. 30
荷 Lotus
秋如醉 Fall Euphoria
2003
2003
Ink and color on paper
Ink and color on paper
68.5×67.5cm
35×45cm
p. 27
p. 31
迎風 Into the Wind
淨土 Clean Land
2003
2003
Ink and color on paper
Ink and color on paper
35×45cm
35×35cm
p. 28
p. 31
山情悠悠 Restful Mountain
寒露之二 Cold Fog 2
2003
2002
Ink and color on paper
Ink and color on paper
35×58cm
45×35cm
p. 29
p. 32
C ATA L O G
雙飛 Close Union
人間有愛 Love in the World
1995
2005
Ink and color on paper
Ink and color on paper
34×44cm
45×34.3cm
p. 32
p. 38
春意 Spring in the Air
春水 Spring Water
2000
2008
Ink and color on paper
Ink and color on paper
35×45cm
34.5×33.5cm
p. 33
p. 38
霜降 Frost's Descent
春分 Spring Equinox
2003
2013
Ink and color on paper
Ink and color on paper
44.5×34.8cm
41×34.5cm
p. 33
p. 39
相親相愛 Mutual Love
小築伴雲閒 House by the Cloud
2008
2009
Ink and color on paper
Ink and color on paper
68.5×67.5cm
35×35cm
p. 35
p. 39
二分之一綠 Half Green
岩的呼喚 Call of Rock
2009
2011
Ink and color on paper 67×68.5cm
p. 37
Ink and color on paper 69×69cm
p. 41
109
LEE Chung-Chung
Elegance of Landscape
山隅寄情 Hill Side Affection
白露 White Dew
2013
2013
Ink and color on paper
Ink and color on paper
69×69cm
69×69cm
p. 43
p. 53
春訊 Spring is Almost Here
空間的沉思 Meditation of Space
2013
2014
Ink and color on paper
Ink and color on paper
69×69cm
91×120cm
p. 45
p. 55
春臨 Spring's Arrival
逸境 Realm of Fancy
2013
2014
Ink and color on paper
Ink and color on paper
69×69cm
122×122cm
p. 47
p. 57
生命的過客 Guests in Life
蝴蝶效應 Butterfly Effect
2013 Ink and color on paper 90×90cm
110
2014 Ink and color on paper 96×106cm
p. 49
p. 59
世外禪 Zen Beyond the World
歲月的沈思 Contemplation of Time
2013
2013
Ink and color on paper
Ink and color on paper
69×69cm
69×69cm
p. 51
p. 61
C ATA L O G
望山有情 Looking for Passion
時空 Space and Time
2013
2014
Ink and color on paper
Ink and color on paper
89.5×89cm
90×90cm
p. 63
p. 73
桃園夢境 Imaginary Dreamland
山影凍 Frozen Mountain Shadows
2013
2014
Ink and color on paper
Ink and color on paper
66×68.5cm
90×90cm
p. 65
p. 75
雲想 Illusion
聆聽的故事 A Story to Hear
2014
2014
Ink and color on paper
Ink and color on paper
69×67.5cm
113×96cm
p. 67
p. 77
春音 Spring Sounds
玄思 Profoundness
2014
2014
Ink and color on paper
Ink on paper
89.5×90cm
136×69cm
p. 69
p. 79
六月在南方 June in the South
大地之母 Mother Earth
2014
2014
Ink and color on paper
Ink on paper
89.5×89.5cm
136×276cm
p. 71
p. 81
111
LEE Chung-Chung
112
Elegance of Landscape
穿越時空 Through Time and Space
清境 Pure Space
2014
2015
Ink and color on paper
Ink and color on paper
136×139cm
94.5×250cm
p. 83
p. 87
隨風的歌 The Wind's Song
幻境 Dreamland
2014
2015
Ink and color on paper
Ink and color on paper
53×46cm
95×250cm
p. 84
p. 89
春醒 Spring Awakening
遠方 Distance
2014
2015
Ink and color on paper
Ink and color on paper
53×47.5cm
53×47.5cm
p. 84
p. 90
凝思 Meditation
天空 Sky
2015
2015
Ink and color on paper
Ink and color on paper
53.5×47.5cm
54.5×47.5cm
p. 85
p. 91
春分 Chunfen
對話 Conversation
2014
2013
Ink and color on paper
Ink and color on Paper
48×53cm
47×53.5cm
p. 85
p. 92
C ATA L O G
墨客行途 Literati Journey 2014 Ink on paper 47.5×53cm
p. 92
晚春 Late Spring 2015 Ink and color on paper 53×48cm
p. 96
雲夢 A Cloudy Dream
雲山如夢 Dreamy Clouds and Mountains
2015
2014
Ink and color on paper
Ink and color on paper
52.5×47.5cm
45.5×44.5cm
p. 93
p. 97
起風的日子 Windy Day
回望 Looking Back
2015
2015
Ink and color on paper
Ink and color on paper
47×53cm
53.5×47.5cm
p. 93
p. 97
近水遠山皆有情 Passion in Water and Mountains
偶遇 An Encounter
2015
2015
Ink and color on paper
Ink on paper
109×96cm
54×47.8cm
p. 95
p. 99
微風 Breeze
聽風的歌 Listen to the Wind Song
2012
2015
Ink and color on paper
Ink on paper
29.5×38.8cm
108×96cm
p. 96
p. 101
113