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LUHITE TEXT 2 007 | 第四期

| NUMBER

| HK$50 | Student

HK$45

褊輯總監 Editing Directors 部凝姿黃麗貞謝明莊

Tang Ying Chi Wong Lai Ching Tse Ming Chong

白文本 WHITE TEXT 二零零七年三月第四期 Number 4, March 2007

執行編輯 Executive Editors 老慧行盧慧珊何穎要陳慧思蔡顆思李雪盈

Lo Wai Hang Lo Wa ? Shan Ho Wing Man Teresa Chan

Choi Wing-sze Lee Suet Ying

白文本

主要經由學生編制，

由白管子基金支持發行

其得

以順利發行 .有賴眾多香港藝

術學院現屆及畢業學生的義務

設計師 Designers

部份若未經版權持有人允許，

石俊言姚君豪

不得用任何方式抄襲或翻印

Stanthony Shek BoyYiu

本刊物所表達之意見或觀點及

常務編輯 Managing Editors

其所有內容，不代表番港藝術

黃振欽

學院，白管子之立場

Wong Chun Yam

中文顧問編輯 Contributing Chinese Text Editor 袁婉荷

Yuen Yuen Ho

定價：港幣五十學生：港幣四十五

英文顧問編輯 Contributing English Text Editors 摩慧楊

Gloria Liu

出版 Publisher 白文本

White Text

聯絡地址 Address 香港灣仔港灣道二號香港藝術中心十樓白管子 White Tube, 10th floor, Hong Kong Arts Centre. 2 Harbour Road, Wanchai, Hong Kong

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White Text is a semi-annual publication supported by White Tube Funds. Its achievement comes from contributions and voluntary works of students and graduates of Hong Kong Art School. All rights reserves. Reproduction without written permission of the publisher is strictly forbidden. The judgments and opinions expressed and the content included in this publication do not represent the view of White Tube, Hong Kong Art School.

Single Issue: General HK$50 Student HK$45

發行日期 Publication Date 於香港印刷 2007 年 3 月 March 2007 Printed in Hong Kong

發行量 Distribution Copies 一千本 1000 Copies

國際標準期刊號 ISSN: 1818-5657

當代藝術從多方面吸取養分，所探討的主題也相當廣闊，有時更無法從日常生活中完全分割出來；藝術與生活千絲萬縷的關係，或許

會叫觀賞者無所適從，藝術的研究亦因而變得複雜。是期的文章繼續游走於文化、個人、社會和身份之間的論述。黎明海對中國道家、禪思和美國抽象表現藝術的分析和對照，揭示民族文化之間的互動，如何激發新的藝術。黃麗貞以當事人的身份跟讀者分享創作人最親密的創作經驗，把物、人、時、空因素結合，領悟造物的真諦。鄧凝姿從影像的思考去維護創作者在創作活動中的主權。石家豪的〈藝術家自述：石家豪說〉是來自藝術家本人的第一手資料，介紹他的學畫過程，是那麼的順其自然又富有心思。另外，蔡穎思以學生的身份提問，思考藝術及藝術家的本質和意義；張慧婷以觀者身份去探究藝術最原始的問題一「看」；而梁展峰則以較遼闊的角度去指出藝術家發展的各種可能性；最後，林嵐所提出公共藝術與普羅大眾的問題，正好讓大家再一次思考藝術的本位及其作為社會一部份的相互意義。藝術由個人的時空走到大眾和歷史的領域內，對任何人而言都是一

個挑戰。《白文本》就是希望把這些挑戰呈現在觀眾面前；雖然沒有優厚的生存條件，但我們仍然希望讀者會珍惜這塊獨立、開放的園地。

鄧凝姿編輯總監

編輯

Editorial Note Contemporary

art assimilates ideas from multiple

aspects. Not only is there an investigation of a broad range of subjects; sometimes it is difficult to detach art from our daily lives. The interwoven relationship of art and life may make the audience feel at a loss. The study of art has

also becomes complicated. Articles of this issue continue to get in touch with discussions on culture, individual, society and identity. The analysis and comparison of Chinese Taoism, Zen and American Abstract Expressionism by Lai Ming-hoi, Victor have shown the interaction between nations and cultures as the driving force for the emersion of new forms of art. Wong Lai Ching, an artist who devotes herself to art making, shares her most intimate creative experience with our readers, exploring the true meaning of making by combining the elements of materials, human, time and space. Tang Ying Chi speaks for the right of artist in creative activities through a reflection on images. The artist statement Wilson Shieh on Wilson Shieh by Wilson Shieh is first-hand writing by the artist himself. This naturally presented and well-organized piece reveals the processes the artist has gone through in studying painting.

Besides Choi Wing-sze, an art student, inquires about the nature and meaning of art and artist. Stephanie Cheung plays the role of an observer and questions the most basic issue in art - seeing. Jeff Leung writes from a wider perspective to point out the various possibilities of an artist's development. Last but not least, Lam Laam Jaffa raises the issue of public art and the general public, asking readers to rethink about the position of art and the interaction with its being a part of the society. Art travels from the personal time and space to the public and historical territories. This is a challenge to everyone. White Text would like to present these challenges to its

readers. While the publication is not backed by a large pool of resources, it is still our hope that its independence and openness would be treasured by each and every reader.

Tang Ying Chi Editing Director

白文本第四期 White Text Number 4 001

編輯語 Editorial Note 004

目錄 Content

005

中國道家及禪思的藝術觀念對美國抽象表現藝術的產生和發展的影響 The Influence of the Art Concepts of Taoism and Zen on the Birth and Development of American Abstract Expressionism 黎明海

027

旋轉運動 The Rotation Exercise 黃麗貞

039

Lai Ming- Hoi, Victor

Wong Lai Ching

思考影像：尋找譚偉平的《廟》 Thinking about Image In Search of Tam Wai Ping's

Temple

鄧凝姿 Tang Ying Chi

053

藝術家自述：石家豪說 Artist Statement Wilson Shieh on Wilson Shieh 石家豪 Wilson Shieh

067

理想與現實之間

Between Ideal and Reality 蔡顆思 Choi Wing -Sze

083

看見看不見 On Seeing, Another View : Sightlessness, Unseeing and the Dreamreader With Slit Eyes 張慧? Stephanie Cheung

095

香港視藝生態一回應李美娟之「一切從一件好事開始一度身訂造的實驗計劃『二樓原作 J J The "Ecology" of Visual Art in Hong Kong - A Response to Carol Lee Project: A good deed makes a start - wToo Artw: A Tailor-made Experimental Project 粱展? Jeff Leung

113 J

如果沒有公共藝術 If There Is No Public Art 林 III Lam Laam Jaffa

0 0 4

黎明海 Lai Ming-hoi, Victor

摘要本文旨在閭釋中國道家及禪思的藝術觀念對美國抽象表現藝術的產生和發展的影響。中國藝術強調平面、線性韻律和「捨形取神」的圖像表現，所以抽象表現主義的簡約造形是「澄懷味象」、「物化」的身體經驗。文章並以格林堡、丁徒、帕森、蘇立文、威廉 ■史迪、格奇和海倫 ■華芝士的學術觀點，分析東方藝術觀念對

抽象表現主義的導向和衝激。最後以馬克 •托比「天人合一」的融通，藉「白寫 J 書法式的延展和「全寫式」的線條，驗證抽象表現主義的簡化，並非無意識的簡

化，而是「得意忘形」的呈示物像的本質和藝術家自我肯定的視覺表現。

緒論「抽象」本來是哲學和科學領域內的一個概念。凡感官不能辨識的事物或現象；要以邏輯思維對其狀態過程、關係、本質進行結構的分析，最後成為一種懸空的客觀

概念都是一種抽象的概念。然而「抽象」在藝術領域的理解，卻依賴藝術家主觀的

投入，對物像的形狀、色彩、聲音、光線、空間等作主觀情意的介入，因而產生幾何化、形式化、概括化等處理其方法、過程或結果。因此在藝術的範疇裡，

「抽象」並非客觀視覺世界的資料整存或紀錄；而是要擷取自然現象的特徵元素

並以扼要和簡練的形像表現，故此非具象、非再現、非客觀都是「抽

象」的異詞同義的名稱。

抽象表現主義

Expressionism)

Barr) 於1929年

詞最早為巴爾

Kandinsky) 的《即興》系列作品；其後科茨

在大學講課中用作討論康定斯基 (Robert Coates)

—

採用這個用詞來探究「會社」

Club)

畫家的創作模式

(Sandler, 1970:2)。當其時抽象表現主義常與德國的表現主義

—

併討論，泛指現代藝術裡非具象、非客觀，而部份著重多色彩、筆觸或單色調的繪畫。及至1950 年代希斯

的階段》

博物館

B. Hess) 出版長篇論著《抽象繪畫的背景及美國

Pa/nf/ngr Bac/cground ar?d /\mer/_ca Phase) ; 加上美國現代藝術

Art

Museum)

舉辦《在美國的抽象繪畫及雕塑》

Pa/nf/ngfa/7dScc//pf(yre/>7ÿmer/ca)ÿ並由列刺 0 0 6

Ritchie) 出版同名的場

刊，於是 1由象表現主義」一詞成為美國戰後新興藝術的用詞。其時希斯稱：「這裡（美

1951:158)。他並非否定抽象藝術的存在，而是認

國> 根本沒有所謂抽象藝術」

Read) 說：「一切藝術

為一切優秀的藝術都應該具備抽象的素質。正如里德

1956:33) 已具體說明抽象藝術表現的特色。

基本都是抽象」

中國繪畫藝術的抽象元素其實抽象藝術的表現形式並非西方獨有。中國繪畫藝術可說早循寫實到抽象的軌跡發展。

蘇立文

Sullivan) 指稱唐代的張操及王維早於公元八世紀已採用潑灑等抽象方 1989)。這種偶發即興的創作過程大概啟發了後

式來進行表意的山水畫創作

世中西方以抽象形式表現的畫家。可是這些另類的「墨戲」終究並非主流。中國繪畫的發展，以唐代「青綠山水 / 寫實主義為開啟；由於道家藝術思想的滲透，藝術家在表現

客觀真實的自然現象時，往往加入自我主觀的情意，逐漸趨向「捨形取神」的表現，正

如唐代張操所言：「外師造化，中得心源」。「外」是客觀大觀世界的一切事物，「中」

是內心的驅策，以內心世界感應客觀世界事物的本源。及至宋代郭熙探討形式化「高

遠」、「深遠」、「平遠」三種獨特的中國透視構圖法。後來韓拙延伸其理念，加入「闊遠」、「迷遠」和「幽遠」合共六種平面空間的山水構圖表現。至十二世紀時，李澄臾針對南宋簡約的風格表現；歸納出「虛實」的空間關係。十四世紀元代畫家強調藝繪畫的演進大可

術過程、媒介、形式化抽象的表現。其實西方現代主義

相比中國山水畫觀念的發展。格林堡

Greenberg) 強調平面

是構

1964卜他認為抽象藝術的演變，並非藝

成現代主義藝術不可或缺的特徵

術演化的本質使然，其必然性是來自於歷史，來自於某個特定的藝術傳統，在某個特定時刻而產生的結果

(Chiaroscuro)

1940)。抽象繪畫放棄自文藝復興以來的「明暗法」

轉向主觀內在線條性的平面構成；正如中國繪畫藝術從唐代的「青綠山

水」展示山石明暗；到元代水墨書法式的文人畫的表現。西方藝術從文藝復興時期以再開拓了超越客觀自

現自然為目的，到第二次世界大戰前後，超現實主義

然的「內在風景」

(Hobbs, 1978)，就是通過藝術家主觀內在情意去感應外

在世界，亦即是前述「中得心源」的意念。英國藝評家弗萊的「線性韻律」

rhythm) 是作為造形

輪廓

韻律而造成延緝和流動的藝術特性和平面的造形獨特性

特色，成為格林堡引介抽象藝術的重要指標和借鑑

Fry) 總結中國藝術

的表現，因應這種

1949:2)。這種線性藝術的 1940)。格氏曾稱許中國

藝術是一種文學（詩）與視覺藝術的有機結合，就是這種 ?詩」的簡練留白的懸空

1940)。

意境豐富了視覺藝術的表現

學者論中國藝術對美國抽象表現主義的影響循此而言，美國的抽象藝術理應可從中國藝術中吸取養份，從理論和創作實踐中發展一套視覺表現的圈像，為何在過往的西方專論中，較少觸及中國藝術理念對美國抽象表現主義作品的影響？諸如格林堡也大可從中國藝術的文獻中，建立一套抽象藝術評賞理論的系統。這大概可以歸結於戰後美國與蘇聯為首的兩大國際軍事經濟集團進入

0令戰」

War) 時代。中國既然被歸類為社會主義的新興國家，格林堡於是在

四+年代中葉以後，一改他對中國藝術與西方抽象藝術關聯的正面肯定，只稱許中國 refinement)。格氏雖然標示中國繪畫

藝術具有一種「心理的嫻雅」

的表現具有抽象的素質

quality) ; 並能融合一己情感於畫面形象，但卻認

為中國繪畫語言流於敘述、模倣、過於裝飾性，未能達到主觀的抽象表現

(Greenberg, 1950:43ÿ44)。他更批評中國藝術的裝飾性窒礙其純粹形式元素的探求

(Greenberg, 1950:43)。縱然他當試否定中國藝術的純粹抽象的表現；他仍不得不稱 1950:44)。

許中國繪畫對自然有透徹的情意了解和具有優秀的抽象特質

除了格林堡之外，丁徒

Danto) 在過去十多年間亦曾就中國繪畫藝術的抽象

特質發表了多篇重要的論文。他在《明與清的繪畫》中，便以解構美學的概念提出「內在本質」

師造化、中得心源」的素質

and Q/ngf Pa/nf/ngs)—文以點示中國藝術的「外

1994)。他還閘釋明清時代的中國藝術，通過絹

和筆、墨等單純工具來抗拒現實環境的不安，藉此構建一個內在平和寧靜的自然空間，這種情感的抽離和轉託對因為大蕭條

的戰後美國社會，為當時的抽象藝術家如哥爾基

Depression) 而產生現實經濟問題

Gorky)ÿ羅斯科

Rothko) 等提供了情意表現的藝術參照。

帕森

Bryson) 是另一位對中西藝術表現作深入比較的美學家。在《視像

與繪畫：凝視的邏輯》 ? 0 8

歸納西方繪畫是一種凝視

and Pa/nf/ngf; 77?e Log/c of ?e Gaze) — 書中，他

。藝術家通過油彩為表現內在情感的媒介，在不斷

<•

的塗抹、刪改、重?的繪寫去擦掉客觀現象的參照，從而超越特定時間和空間的局限。

，它只描劃與筆觸產生融和協調的物像。它以筆墨展示

中國繪畫則是「_瞥」

時間和空間在描劃過程的意義，觀者只可在畫面表現中體會藝術的韻律性和連續性。欣

1983)。因此西方藝術偏重「寫形」，

賞和創作的行動都變成了一種身體的經驗

藝術家要以長時間的觀察和分析始能再現物像；而中國藝術則以「寫意」為重，藝術家

把物像的印象、感受儲藏心內，以情感反思及內在的策動，表現藝術的真正本質。這是和自我發現的角色。這種過程並非無意識地把客觀物像

一種自我去蔽

作主觀的簡化，而是如《老子》所言復歸於樸；或如《莊子》所謂「物化」。抽象是「也認為帕洛克

無為而為」的理性和邏輯的超越。所以奧斯邦尼

Pollock) 的滴彩風格，是一種融合虛與實的簡化；是與宇宙混而為一的表現，其作品正驗證了西方現代藝術受道家審美觀念的影響

1979)。故此菲素活(David Worringer) 的見解，認

Read) 和烏靈勒

Thistlewood} 也同意里德

為抽象並非客觀造形的簡化而是移情的真實

realism) ，是內在素描的結果

(Thistlewood, 1984: 42)。所以抽象的表現並非無中生有，而是藝術家對萬物的觀察、經驗、記憶、理解、思考、與想像等綜合的感應和自我的肯定。

Sullivan) 在《東方與西方藝術相遇》一書中

其實蘇立文

Meef/ng of

Eastern and Western /W) 曾以中國藝術觀念作為立足點來比較西方抽象藝術的精神表現。他當試以宗炳的「澄懷味象」來分析康定斯基

的畫作；他又把帕洛克

的行動繪畫與禪思聯繫起來，並指出費諾撒(Fenollosa)、古瑪阿莎美(Coomaraswamy)

Teitaro Suzuki) 等都是近代融通東西藝術的重要人物。他更詳盡

和鈴木大拙地探討馬克 ■托比

Tobey) 及莫里斯 ■基斯

Graves) 的東方旅程對他們

的創作發展有著重要的影響，這些旅程的實地考察啟發他們書法式表現和抽象精神的來源

1989:261-269)。可惜蘇氏的比較只集中在形式元素，如線、空間、造形的

近似，欠缺揭示兩者間哲理性的接納和薰陶，以至分析流於表面而未有足夠的學術觀點。

Seitz)。他

另一位以形式主義來敘述抽象表現主義在美國擴散的是威廉•史迪在《美國的抽象表現主義繪畫》圖式元素

E外vess/’on/_sm Pa/'n价7g

elements) 和圖式關係

/_n

>AmeA7'ca)

—書中以

relationships) 討論六位主要美

國抽象表現主義藝術家的作品及其在整個藝術運動的角色和貢獻。他多次強調馬克

•

? 9

托比作品具有中國的特色，認為只有他堪稱「書法式的畫家」

painter) ; 並以此識別他與霍夫曼

馬瑟偉爾

Hofmann),

sensibility)。他並

Rothko) 的感性表現

Motherwell) 和羅斯科

painting) 的英雄，他指出格林堡的謬誤，

不以帕洛克作為美國 ?行動繪畫」

認為1909 年的密林

Merrid) 才是把油彩以虛無方式

method) 傾倒於畫

面上的第一人。這種自然方式的「變」的概念源於中國的哲學觀念。他又特意標榜

抽象表現主義中線性的表現，並指稱只有托比能夠以線來組織和統一畫面，他的全寫式

構圖，表現光在城市的動力，也呼應了中國「氣」的動感要求。他

還提出黑白色的抽象表現，顯示了中國書法對克蘭

Kline) 和德庫寧

de Kooning) 作品的影響。他也借用中國陰陽相他也借用中國陰陽相生的觀念來討

論抽象與具象的互動性。史氏可算是首位西方藝術學者全面而系統地分析中國藝術的藝

與抽象表現關係，然而礙於他認為抽象表現主義乃國際主義術現象；認為是地域寫實

Realism) 在現代主義思潮帶動下的必然過渡，

反而忽略了情境因素帶來藝術創作和藝術批評的轉變，所以便無法闌釋本來以超現實的有機性形象為主導的創作理念，如何轉化為強調自由率性的行動形式的表現；

也無法交代為何格林堡從左派社會主義的評論轉為否定一切非美國文化的模式。

格奇

James Clarke) 的《東方思想對美國戰後繪畫和雕塑的影響》

Influence of Oriental Thought on Postwar American Painting and Sculpture)

—

確認東方思想對抽象藝術衍生的意義。他以順時序方式探究美國抽象藝術的發展。他

以費諾撒

及鈴木大拙

Teitaro

抽象表現主義形成的價值；以古瑪阿莎美

Suzuki)

帶出日本禪佛思想對

道出印度的自然觀念及

瑜珈與空間的關係；以《老子》分析充實與空虛及黑白作為色彩表現的抽象藝術作

品的特色。他又以超現實主義演繹榮格

unconscious) 對抽象原型

的「集體潛意識」的心理影響。他更以東方的直覺、自覺及天

人合一的審美觀來評當行動繪畫。雖然格奇已意識到東方思想對美國抽象藝術的真正影響，可是他卻仍以超現實主義或形式主義的觀點來對證抽象的意念，未能充份展示中國藝術的美學精神，他只是把威廉 ■史迪和蘇立文的分析作詳盡的延伸，其間並沒有加入新的角度。況且他亦如史迪等形式主義的學者一樣，沒有考慮到社會 ? 0

及經濟的情境，對藝術家的心理衝擊，於是其研究也只好停留在圈式表現的層面上。

Westgeest) 的《五十年代的禪：東西方在藝術的互動》

海倫 •華芝士

in the Fifties: Interaction in Art between East and West, 1996) 可算是第一部以東方哲學一禪來審視歐美戰後抽象文化的學術專論。作者以禪的內在意念：空、無、活

力及宇宙性等思想，貫串美國、法國、德國、日本等地的抽象藝術家如何應用禪思於其創作之中。書內對美國抽象表現與禪的關係尤其有詳盡的分析，更以托比及萊茵哈特

(Ad Reinhardt) 為對象，說明禪思作為視覺形式轉換的可能性。然而由於要論述歐美戰後諸國的藝術發展；又要適應擬設的框架項目，故對禪的哲學理解未能深入，最後陷於

哲學思想硬性套入視藝形式的舊路上；也只能重彈前人的舊調。而且作者僅以日本的禪

學代表所有東方哲學思想的精粹，未免以偏概全。

中?藝術觀念與美國抽象表現主義政治因素不但蒙蔽了部分藝評人或藝術史家對抽象表現與中國（東方

藝術關係的正確

判斷；也使若干藝術家因其與東方的淵源而受到忽視。馬克•托比作為自惠斯特之後於

威尼斯雙年展中贏得繪畫大獎的美國畫家；在1961 年更被羅浮宮邀請舉辦回顧展賢，是在世畫家的一種極高的榮耀。巴文

Barmann)

writing) 繪畫對美國抽象藝術有極重要的貢獻

認為他的「白寫」

1997: 78)

。認為托比的「白

寫」不但創造了非敘述性的塞面表現，其全寫式的繪畫模式更啟迪了帕洛克的滴彩（雖

然格林堡否認彼此關連

。他的創作意念和他與中國藝術的直接溝通，如在二+年代跟

隨中國留學生滕圭學習中國繪畫及中國藝術的理論。他在 1934 年經歷的唯一亞洲旅程，當中包括再次與滕圭切磋藝術及受學於日本襌僧 Enpuku-ji 的冥想及襌塞，使他對空間的理解更趨成熟。他在 1936 年創作的《百老匯》

便以電光疾走般的筆觸， \

展示人群熙攘的擁擠。他稱此作品是對上海景像回憶而激發起對紐約的聯念 (Winther-Tamaki, 1997: 81)。由於英國達寧頓

。

以「忘」的手段作

登懷味象」

Hall) 的寧靜生活，使他得

1951:424)。再者，托比於 1950 年代末創作

超過五十多幅水?的抽象紙本作品。黑色墨水潑灑在空白的紙上，那動勢的形態與中國

繪畫的形式極為相似。

以道家為本的中國藝術思想藉線條的應用也見證對事物變易性與恆常性相對的觀念。蘇軾《赤壁賦》：「自其變者而觀之，則天地曾不能以一瞬，自其不變者而觀者，則物與

我皆無盡也」。蘇東坡的詞是呼應《老子》萬物自運動而生：「有物混成，先天地生，

寂兮寥兮。獨立而不改，周行而不殆」。《莊子》認為宇宙間存在的一個最普遍的現

象。萬物間存在著一個共同的特點就是變化：「天地雖大，其化均也」。《莊子》並

認為這種變化的過程，皆是循環。他指出萬物從無開始，經歷一、德、命、形、性，

最後在「忘」的直覺下 * 又返回到虛無的根本上，所以「一」是萬物的根源。正如

《老子》所言：「道生一，一生二，二生三，三生萬物」。石濤把「一」的觀念形象化為線條的表現，他寫道：「太古無法，太樸不散。太樸一散，而法立矣。法於何立？立於一晝。一畫者，眾有之本，萬象之根」。天地曾不能以一瞬的變化，在藝術的表現裡演繹為不斷延展的線條，因此線條的「延展」特性，「全一 J

(wholeness) 成為抽象藝術的主要表現形式。

中國人的宇宙觀倡稱「天人合一」，由此而認定人要與自然融通，人與自然和諧相處。在儒家、道家及禪的哲學思想裡，皆從不同角度閽述人是自然的產物，雖謂有

「人」與「自然」之別；卻沒有把兩者分隔對立。在天人相合的觀念下，藝術家還是以一種積極參與、渾然忘我的態度，藉身體的動勢把感情經過主觀的提昇和強化，

轉而落實於筆端，創造出既能表現對象立體感、質感、量感和動感的特性，又能表

現主觀意識情感的線條。西漢楊雄道出書法藝術的特性：「故言，心聲也；書，心畫也」。

線條的表現，聯繫著兩種情感的活動：一種是控制手部動作的情感活動；一種是從內心深處決定行動意向的情感活動。這兩種情感交織在一起，最終落實於線條。線

條之所以能夠實現這種記錄，一來它是一種空間表現的形態）其次是它的流動，是

時間與空間合一。沒有流動，即意味著精神和情感的死亡。所謂「周行而不殆」延綿不盡的動勢才能表現事物內在的真像，所以心理意象是選擇性的，思維把物像無關重要的部份捨棄，呈現最簡化的結構及動人的張力。一筆書的忘我意識就是心理

意象最完美的體現。張懷璜《書斷》說：「字之體勢，一筆而成，偶有不連，而血

脈不斷，及其連者，氣候通其隔行」。此處所謂「一筆」者是要求筆法運行展延不

絕。這種觀念被美國抽象畫家，如托比和帕洛克等轉繹成為『全寫式』的繪畫，標示了全一性

的天人合一的精神。

托比《冥想》系列子。他的《冥想八號》

ser/es) 便是把這種內存的情感作延綿不斷表現的最好例

Series W//, 1954)

、《冥想九號》

Ser/es /X, 1954) 皆仿如仰觀星際。茫然飄渺沒有固定視點的畫面；只有互相織繡卻無中心焦點的線性散佈在畫面上，為他日後更突出的「延展」表現奠基。托比後來的《黃色豐收》

Harvest 1958) 彷彿萬里稻田的秋收喜悅；《預言的黎明》

/ÿ/gfW Dawn, 1958)、《多重瞬間的空間》 (Mu/tiple Moments in Space, 1959) 的白色密佈的線條，都能反映出生機，這是托比把中國書法綿綿有勁的視覺元素轉化為全寫式的視覺範式轉變的最佳說明。雖然Winther-Tamaki指出托比的「白寫」的白線是在圖象

的盡面上填滿所有空間；而非如東方書法以黑色墨水繪寫而賸留白色的空白

(Winther-Tamaki, 1997)。托比的表現在形式上是東方書法的反動，然而這種黑底反白的形式其實在中國墓誌銘的拓本中早已存在

作一系列《墓誌銘》

Marden 甚至於 1996-1997 年間創

的繪畫。

結語謝赫「氣韻生動」和「骨法用筆」的道家美學觀念鞏固了中國以線性表現的藝術精神。「氣」的追求強調了線條的延展，在滕圭的引導下，托比轉化這種觀念為一「全一性」

的表現。托比的作品大大地擴闊了線性視覺形式表現的可能性。隨之以後，薩姆 •弗朗西斯

Francis)ÿ帕洛克等延嫌了整全形式的全一性的繪畫意義。「骨法用筆」針

對筆墨的書寫動感，把本來受語意約束的?通效能，變成了內在情意的直覺表達。情感得到釋放，便更能展現線條的活力。托比、馬瑟偉爾、克蘭、萊茵哈特等，不但模倣書

法垂直的畫面構圖；更以裹邁的筆觸展示中國書體的抽象意趣，由此可以確認中國道家美學觀念和中國藝術表現形式對美國抽象表現主義的發展有著重要的影響。

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《參考書目》 Barmann, M. (1997). Pattlerns of Nomadism: The Transcultural Art of Mark Tobey. In: De Baranano, K. and Barmann, M. (Ed.) (1997). Mark Tobey. Madrid: Museo Nacional Centro de Arte Reina Sofia.

Bryson, N. (1983) (1986). Vision and Painting: The Logic of the Gaze. New Haven and London: Yale University Press.

Clarke, D. (1988). The Influence of Oriental Thought on Postwar American Painting and Sculpture. New York: Columbia University Press.

Fry, R. (undated). The Significance of Chinese Art. In: Fry, R. (et al) (1935) (1949). Chinese Art: An Introductory Handbook to Painting, Sculpture, Ceramics, Textiles, Bronzes & Minor Arts. London: B.T. Batsford Ltd. Danto, A.C. (1994). Ming and Qing Paintings. In: Embodied Meanings: Critical Essays andAesthetic Meditations. New York: Farrar Straus Giroux.

Greenberg, C. (1940). Towards a Newer Laocoon. In: O'Brian, J. (Ed.)(1986) (1988). Clement Greenberg-the Collection Essays and Criticism: Perceptions and Judgements, 1939-1944. \/o\ A London: University of Chicago. t

Greenberg, C. (1950). The Art of China: Review of the Principles of Chinese Painting by George Rowley. In: O'Brian, J. (Ed.)ÿ993), Clement Greenberg-the Collection Essays and Criticism: Affirmations and Refusals 1950-1956. Vol.3, London: University of Chicago. Greenberg, C. (1964). Post Painterly Abstraction. In: O'Brian, J. (Ed.) (1993), Clement Greenberg-the Collection Essays and Criticism: Modernism with a Vengeance 1957-1969. Vol.4, London: University of Chicago. Hess, T. B. (1951). Abstract Painting: Background and American Phase. Viking Press.

New York:

Hobbs, R.C. (1978). Early Abstract Expressionism: A Concern with Unknown Within. In: Hobbs, R.C. and Levin, G. (1978). Abstract Expressionism: The Formative Years. Ithaca and London: Cornell University Press. Osborne, H. (1979). Abstraction and Artifice in Twentieth-Century Art. Oxford: Clarendon Press. Read, H. (1931) (1956). The Meaning of Art. Middlesex: Penguin Book Ltd. Sandler, I. (1970). The Triumph of American Painting: A History of Abstract Expressionism. New York: Harper & Row, Publishers. Seitz, W. C. (1962) (1980). Mark Tobey. New York: Arno Press.

Seitz, W. (1983). Abstract Expressionist Painting in America. Cambridge, Massachusetts, and London: Harvard University Press. Sullivan, M.(1989). The Meeting of Eastern and Western Art. New York: University of California Press.

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Tobey, M. (1951). Reminiscence and Reverie. Reprinted in: De Baranano, K. and Barmann, M. (Ed.) (1997). Mark Tobey. Madrid: Museo Nacional Centro de Arte Reina Sofia.

Thistlewood, D. (1984). Herbert Read: Formlessness and Form. London: Routlege & Kegan Paul.

Westgeest, H. (1996). Zen-in the fifties. Amstelveen: Waander Publishers. Winther-Tamaki, B. (1997). Mark Tobey, White Writing for a Janus-faced America In: Word & image, Vol. 13, no. 1.

黎明海

vlai@ied.edu.hk

黎明海於 2001年獲英國蘭卡斯特大學藝術史哲學博士學位。現職香港教育學院雅藝學系副教授、香港美術教育協會會長、香港藝術發展局藝術教育組副主席、香港藝術館顧問。 -

研究範 _包括現代及西方藝術史，香港流行文化、社區文化與藝術、視覺文化及藝術教育及繪畫創

作理論等。

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TranslatorÿTeresa

Chan

Abstract This article aims at explaining the influence of the art concepts of Chinese Taoism and Zen on the birth and development of American Abstract Expressionism. Chinese art put the stress on flat surface, rhythm of lines and a pictorial representation that focuses on the spirit rather than the visible form. The minimal form in Abstract Expressionism is a physical experience of "savouring the image with a clear mind (澄懷味象)" and "materialization". The article will also analyze the directional force and impact exerted on Abstract Expressionism by Eastern art concept, with the academic view points of Clement Greenberg, Arthur Danto, Norman Bryson, Michael Sullivan, William Seitz, David Clarke and Helen Westgeest. It will conclude by examining the notion that the simplification in Abstract Expressionism is not a subconscious one but a contended way of showing the true nature of objects and phenomena, and a self-assured visual presentation by the artists. The proof will be based on 'the unification of the nature and man (天人合一) 11 as shown by Mark Tobey, the extension of calligraphy in his "white writing" and his use of "all-over" lines.

Introduction "Abstract" is originally a concept in the fields of philosophy and science. Objects or phenomena which cannot be perceived by senses will turn into a non-material, objective concept after a structural analysis of their status, process, relationship and nature by means of logic. All these concepts are abstract. However, there is an alternative understanding of "abstract" in the field of art. It depends on the subjective involvement of artists. When an artist intervenes the shape, colour, sound, light, space, etc. of an object or phenomenon with his/her own subjective feeling, geometrization, formalization and simplification may be resulted in the method, process and end product. In the field of art, "abstract" is not a collation or recording of the data from the objective visual world but an extraction of the characteristic elements of natural phenomena and their representation in a clear and concise manner. Therefore, non-figurative, non-representational and non-objective are all synonymous with "abstract".

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The term "Abstract Expressionism" was first used by Alfred Barr in 1929 in his university lectures on Kandinsky's Improvisation series of works. Robert Coates then used the term to examine the work model of the artists from "The Club" (Sandler, 1970:2). At that time, people often discussed Abstract Expressionism together with German Expressionism. The term loosely referred to modern paintings which were non-figurative and non-objective, of which some stressed on multiple colour, multiple brush strokes or single colour tone. Later, in the 1950s, Thomas B. Hess published his book titled Abstract Painting Background and America Phase. The Modem Art Museum of the United States held the

exhibition Abstract Painting and Sculpture in America and a catalogue of the same title was published by Andrew Ritchie. It was until then that the term Abstract Expressionism came into the vocabulary of the post-war new art in the United States. Hess claims that "There is no abstract art (in the United States)." (Hess, 1951:33) He does not deny the existence of abstract art but considers all good art as possessing abstract quality. What is pointed out by Herbert Read, "All art is primarily abstract" (Read, 1965:33) has clearly explained the characteristics expressed in abstract art.

The Abstract Element in Chinese Art Abstract art is not solely found in the West. Chinese paintings have developed along the track from realism to abstraction since early years. Micheal Sullivan points out that in as early as the eighth century, Zhang and Wang Wei (王維 Zao (張澡 of the Tang dynasty had used abstract techniques like ink sprinkling in their expressive landscape paintings (Sullivan, 1989). This impromptu process of art making had probably inspired both Eastern and Western artists of the later generations who used abstract expression in their works. However, this alternative style of "ink playing" did not belong to the mainstream. In the development of Chinese painting, the realism portrayed in the "blue-and-green landscape" of the Tang dynasty was the starting point. Owing to the infiltration of the Taoist thought of art, it was common for artists to add their subjective feeling when imitating the objective reality of the nature in their works. The focus of representation gradually moved from visual form to the spiritual content. Zhang Zao of the Tang dynasty said, "I take the external nature as my instructor and receive inspiration from the inner heart (夕f 師造化，中得心源)' What he referred to as on the outside was all the things in the objective world and those on the inside was the drive from one's heart and the response of the heart to the origins of the world. In the Sung dynasty, Guo Xi(郭熙)(Nÿ帥 explored the three unique perspectival approaches in Chinese paintings, "the elevated distance11, "the deep distance" and "the flat distance"This theory was extended by Han Zhuo(韓拙 who added three more approaches, namely "the wide distance", "the hazy distance" and "the quiet distance", to make six approaches for structuring the two-dimensional space in Chinese landscape. In the twelfth century, Li Chengyu (李澄臾） generalized the spatial relationship between "emptiness" and "fullness" based on the minimal style of the Southern Song period. Into the fourteenth century, artists of the Yuan dynasty gave more emphasis on the process of art making, the media and the abstraction of forms. In fact, the development of Western paintings under Modernism is comparable with (Notel) Zhang Zhao: Painter of Tang dynasty (Note2) Wang Wei: Famous poet and painter of the Tang dynasty (Note3) Guo Xi: One of the most important landscape painter of the Northern Song period. Author of a treatise on landscape painting (( 林泉高致集 ). (Note4) Han Zhuo: Painter and theorist of the Song dynasty. Author of a treatise on landscape painting ( ( 山水純全集 ).

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that of Chinese landscape paintings. Clement Greenberg stresses that flatness was an indispensable characteristic in the formation of modernist art (Greenberg, 1964). He thinks that the development of abstract art was not caused by the nature of art evolution but an inevitable outcome of history. It is a result produced at a specific time a tradition (Greenberg, 1940). Chiaroscurro, which has been used since by a specific art the Re:已naissance, is given up in abstract paintings. Instead, the paintings turn to a subjective and internal linear, flat structure. A similar development can be seen in Chinese paintings, from the light and shadow on mountains and rocks in the "blue-and-green landscape" of the Tang dynasty to the calligraphic representation in the literati paintings of the Yuan dynasty. In Western art, representation of the nature was the objective of painting during the Renaissance. Around World War II, Surrealism opened up the "inscapes" which went beyond the objective reality (Hobbs, 1978). Artists responded to the external world with subjective inner feelings, echoing the Roger Fry, a above-mentioned concept of "rece:ive inspiratio tation British art critic, concludes that the "linear rhythm" in Chinese art was a represents of form contour, and this rhythm had led to the artistic characteristics of extension and movement, as well as the uniqueness of two-dimensional form (Fry, 1949). This characteristic of linear art has become an important indicator and reference for Greenberg in his introduction of abstract art (Greenberg, 1940). Greenberg praises that Chinese art was an organic combination of literature (poem) and visual art, and it is this "poetic" succinctness and conception of emptiness that has enriched the representation of visual art (Greenberg, 1940).

Scholars1 critique on the influence of Chinese Art on Abstract Expressionism in the United States

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Following the above argument, abstract art in the United States should have drawn nourishment from the Chinese art and developed a set of pictorial language for visual representation through theory formulation and art practice. Why is the influence of Chinese art concept on the abstract expressionist works of*the United States so rarely mentioned in the Western theoretical framework in the past? Take an example, Greenberg might have developed a system of critical theories of abstract art from the Chinese art literature. This may be attributed to the Cold War era of the two military and economic blocs led by the United States and the Soviet Union respectively. China was then classified as a rising Socialist nation. After mid-1940, Greenberg changed his affirmative attitude on the linkage between Chinese art and Western abstract art. Instead, he only claimed that Chinese art had the quality of "psychological refinement". While recognizing the abstract quality in Chinese painting and the incorporation of personal feeling into the visual images, Greenberg considers the language of Qiinese painting narrative, imitative and over-ornamentation, failing to achieve a subjective abstract expression (Greenberg, 1950:43-44). He also criticizes that the decorative nature of Qiini art had choked off the exploration of pure formal elements (Greenberg, 1950:43) • Although he tries to deny pure abstract expression in Qiinese art, he still appreciates that Chinese paintings are excellent for their abstract qualities as well as for their apprehensions of mcxxl through nature (Greenberg, 1950:44).

Apart from Greenberg, Arthur Danto has published a number of important articles on the abstract characteristics of Chinese painting in the past ten or more years. In his Ming and Qing Paintings, he employs a deconstructionist touch of intertextuality in order to illustrate the qualities of the inner meaning and the outer appearance of the Qiinese art (Danto, 1994:32). He also explains the use of simple tools like silk, brush and ink in Ming and Qing art to resist the turbulent reality, creating an inner natural space that is peaceful and tranquil. In the post-war era when the United States was facing economic diffiailties due to the Great Depression, this kind of emotional withdrawal and transfer provided an artistic reference of emotional expression for contemporary abstract artists like Arshile Gorky and Mark Rothko. Norman Bryson is another aesthetician who makes thorough comparison between the expression in Chinese and Western art. In his book Vision and Painting: The Logic of the Gaze, he concludes that Western painting was a kind of gaze. Artists use paint as the medium to express inner feelings. Repeated brushwork, correction and layering are employed to erase the reference to the objective pRenomenon so as to go beyond the restriction of a sp>edfic time and space. On the other hand, Chinese painting is a glance. It only depicts phenomena which are in harmony with the brush strokes. By means of the brush strokes and ink, it displays the meaning of time and space in the pircxess of painting. A viewer can only experience the rhythmic and continuous nature of art from the pictorial surface. Both appreciation and making have become a physical experience (Bryson, 1983). Western art puts the emphasis on depicting the form. Therefore, artists need long time to observe and analyze in order to represent a phenomenon. Chinese art focuses on expressing the spirit. The impression of and the feeling towards a phenomenon are stored in the heart of the artist, who will show the true nature of art through reflection and an inner drive. The artist plays the role of self-unconcealment and self-discovery. The process is not an unconscious, subjective simplification of an objective phenomenon, but a return to the basic as pointed , or "materialization?? as in tiie teachings of Zhuangzi (莊子)(Nc你6). out by Laozi(老子 Abstraction goes beyond reasoning and logic, and is "attempting nothing but accomplishing everything (無為而為) • Osborne also thinks that the paint dripping style of Jackson Pollock is a simplification merging "emptiness" and "fullness", and an expression that unifies with the universe. The works of Pollock is a verification of the influence on Western contemporary art by the Taoist aesthetic concepts (Osborne, 1979). David Thistlewood agrees with Herbert Read and Wilhelm Worringer in that abstraction was not the simplification of objective form but an empathetic realism, a result of inner sketches (Thistlewood, 1984:42). Therefore, abstraction is not made out of nothing. It is a consolidated response and self-assurance of the artist based on his/her observation, experience, memory, understanding and imagination about the world. ??

(Note5) Laozi: Chinese philosopher who lived in the fourth century BC. Founder of Taoism. Credited with

writing the significant Taoist work D? JiMg(《道德經》）. (Note6) Zhuangzi: Chinese philosopher who lived towards the end of the fourth century BC. Representative

figure of Taoism. Author of the

《莊子》

In his book The Meeting

and Western Art, Michael Sullivan has used Chinese art concepts as a reference point to compare the spiritual expression in Western abstract art. He has tried to analyse the paintings of Kandinsky with Zong Bing? s (宗炳 )(7Vÿfe7) idea of "savouring the image with a clear mind". He has also linked up the action painting of Pollock and the thoughts of Zen, and considers Ernest F.Fenollosa, A.K. Coomaraswamy and Daisetz Teitaro Suzuki (鈴木大拙） important contemporary figures to connect Eastern and Western art. He examines in detail the important influence of the journeys to the East on the development of the works of Mark Tobey and Morris Graves. The visits in those journeys have become the source of calligraphic expression and abstract mind in their works (Sullivan, 1989: 261-269). However, Sullivan's analysis has only focused on formalistic elements like lines, space and similarity of form, without revealing the philosophical compatibility and mutual influence of the East and West. This has made the analysis a superficial one without adequate academic support.

of Eastern

writer who has described the expansion of Abstract Expressionism in the United States based on formalism is William Seitz. In his book Abstract Expressionism Painting in Amercia, he uses pictorial elements and pictoria relationships to discuss the works of six major American artists of Abstract Expressionism, as well as their roles and contribution to the movement. He repeatedly stresses that the works of

Another

Mark Tobey carried Chinese characteristics and that only Tobey could be called a calligraphic painter. This is the feature that Seitz uses to differentiate Tobey from the expressive sensibility of Hans Hofmann, Robert Motherwell and Mark Rothko. Seitz does not take Pollock as the hero of American action painting. Pointing out the mistake of Greenberg, Steiz considers the work of Knud Merrid in 1909 the first one to have paint poured on a surface with the flux method. This concept of natural "change" originates from Chinese philosophy. Seitz also highlights the linear expression in Abstract Expressionism, claiming that only Tobey could use lines to organize and unite the pictorial surface. Tobey s all-over composition expresses the force of light in the city and echoes the dynamic requirement of qi (literally "vital breath") in Chinese. Seitz suggests that the abstract expression using black and white was an amplification of the influence of Chinese calligraphy on the works of Franz Kline and Willem de Kooning. Borrowing the concept of mutual reinforcement of yin and yang in Chinese philosophy, Seitz discusses the interaction between abstraction and figuration. ?

(Note7) Zhong Bing: Painter of the Southern Song period. Author of a treatise on landscape painting ( 《畫山水序》

Seitz can be considered the first scholar of Western art to thoroughly and systematically analyse the relationship between Chinese art and abstract expression. However, Seitz considered Abstract Expressionism an artistic expression of Internationalism, and an unavoidable transition of Regional Realism led by the trend of thoughts in Modernism. This made him overlook the changes brought by contextual factors to artistic creation and art criticism. As a result, he failed to explain how the creative concepts led by surrealistic organic forms had changed to an expression that emphasized on free and straightforward action. Neither could he state the reasons of Greenberg's switching from leftist socialistic criticism to the denial of all models from non-American culture.

The

•

Influence of

Oriental Thought on Postwar American Painting and Sculpture, written by David James Clarke, confirms that the Eastern way of thinking were of significance to the growth of abstract art. He explores the development of American abstract art in chronological order. Quoting Fenollosa and Suzuki, Clarke explains the significance of Japanese Zen and Buddhist thoughts in the formation of Abstract Expressionism. With Coomaraswamy as the example, he describes the Indian concept of the nature and the relationship between yoga and space. With the works of Laozi, he analyses fullness and emptiness, as well as the use of black and white as a characteristic feature of colour expression in abstract art. Clarke also interprets through Surrealism the psychological influence of Jung's collective unconsciousness on abstract archetype. He appreciates action painting with the Eastern intuition, self-awareness and the aesthetic approach of unifying the nature and man. Although Clarke was well aware of the real influence of Eastern thoughts on American abstract art, he still testified the abstract ideas from the view points of Surrealism or Formalism. In such a way, he could not fully show the aesthetic spirit of Chinese art and only gave a detailed extension of the analysis of Seitz and Sullivan, thus failing to tackle the issue from a new perspective. Moreover, like Seitz and other scholars studying Formalism, Clarke did not take into account the impact of social and economic context on the psychological condition of artists. As a result, his studies just stay at the level of pictorial presentation.

Zen in the Fifties: Interaction in Art between East and West, 1996 by Helen Westgeest, can be taken as the first academic work to scrutinize the post-war abstract culture in Europe and the United States on the basis of the Eastern philosophy of Zen. Westgeest uses the inner meanings of Zen - emptiness, nonbeing, energy, universality, etc, to link up her study of how the abstract artists in areas like the United States, France, Germany and Japan apply the Zen thoughts in their art making. The book gives a particularly detailed analysis of the relationship between American Abstract Expressionism and Zen. Tobey and Ad Reinhardt are used as examples to explain the possibility of Zen thoughts as a source of the change in visual form. While describing

the art development in a number of post-war European and American nations, Westgeest had to fit in with a pre-set framework in her writing. At the end, she failed to get a deep understanding of the Zen philosophy and was trapped in the old approach of forcing philosophical thoughts into visual art form, thus repeating the same old tune as some other writers before her. Finally, the author's use of Japanese Zen to represent the essence of all Eastern philosophical thoughts is far away from showing the whole picture.

Chinese Art Concepts and American Abstract Expressionism The political factor has not only jeopardized the judgement of some art critics and art historians in the relationship between abstract expression and Chinese (Eastern) art, but also led to the overlooking of the importance of some artists because of their association with the East. Mark Tobey was the first American painter who had been awarded first prize for his paintings in the Venice Biennale after Whistler. The invitation by the Louvre in 1961 for Mark Tobey to hold a retrospective was a high honour to a living artist. Matthias Barmann thinks that Tobey's "white writing" painting had made extremely significant contribution to American abstract art (Barmann, 1997: 78). According to Barmann, not only the "white writing" of Tobe has created the non-narrative pictorial expression, his "all-over" painting mode has also inspired the dripping style of Pollock (although this association is denied by Greenberg). Tobey's understanding of space could be attributed to his direct contact with Chinese art. He learned Chinese painting and Chinese art theory in the 1920s from Teng Kwei (滕圭 )ÿ a student from China. In his only journey to Asia in 1934, Tobey again exchanged his art experience with Teng Kwei, and learned meditation and Zen painting from Enpuku-ji, a Japanese Zen monk. In his work Broadway, made in 1936, Tobey employed short and fast brush strokes to depict the congested and moving crowd. He said that this work had been associated with his memory of New York as inspired by what he remembered of Shanghai (Winther-Tamaki, 1997: 81). The quiet life at Darlington Hall in England enabled him to "savour the images with a clear mind" via the approach of "forgetting" (Tobey, 1951:424). Tobey created more than fifty abstract works using ink on paper at the end of the 1950s. The black ink spreading on the white paper carries the movement which highly resembles the form of Chinese painting.

Chinese artistic thought is based on Taoism. Through the use of lines, the polarity between the ever-changing and eternal nature of the world is testified. In his Chibifu (literally The Red Cliff), Su Shi(Nÿte8) says, "Judging from the ever-changing nature of the world, there is no single object which can stay unchanged for one moment. But if viewed from the angle of eternity, both the world and myself exist forever." This poem of Su Shi echoes Laozi's views that everything in the world was born from changes, There is a thing confusedly formed Born before Heaven and Earth Silent and void It stands alone and does not change Goes round and does not weary (Nÿte9)

Zhuangzi considers that the most common phenomenon in the universe and the one characteristic shared by all things is "changing • Heaven and Earth Zhuangzi also are huge, but they are alike in their transformations. ?7胸 thinks that this process of transformation is a cyclical one: everything starts from nonbeing, goes through one, virtue, fate, form and inborn nature, and returns to the very beginning of emptiness under the intuitive of "forget". Therefore, one is the origin of everything, as said by Laozi, "The way begets one, one begets two, two begets three, three begets the myriad creatures. "(Nÿÿ22ÿ Shi Tao(NoteU) transformed the concept of "one1 into the expression with lines. He writes, "There is no method in the beginning. There is no form in the origin. When a form is shaped, there comes the method. On what is the method based? It is based on a line. A line is the The ever-changing nature of the world origin and root of everything. is transformed into the ever-extending lines in art expression. The "wholeness" from the "extending" characteristic of lines has become the major form in abstract art. ??

(Note8) Su Shi: Acclaimed poet and writer of the Song dynasty, also famous for calligraphy and painting. (Note9) From Daode Jing, Chapter 25. Translation adopted from Tao Te Ching-A

Bilingual Edition Translated

by D.C. Lau (2001) Chinese University Press, Hong Kong (NotelO) From "Heaven and Earth" of Zhuangzi, Chapter 12. Translation adopted from Burton

Watson's translation of the Complete Works of ChuangTzu

(http://web.archive.org/web/20041009155819/users.compaqnet.be/cnllll32/chuang-tzu/) (Notell) From Daode Jing, Chapter 42. Translation adopted from Tao Te Ching-A Bilingual Edition Translated by D.C. Lau (2001) Chinese University Press, Hong Kong (Notel2) Shi Tao: Painter of the Qing dynasty. Author of a treatise on painting titled Remarks on Painting

(《畫語錄 ). Chinese quotation from Chapter 1of Remar/cs on jPfnnhMg(《畫語錄》了法章一）

The unification of the nature and man is the major element in the Chinese philosophy about the universe. This means that man should merge and live in harmony with the nature. The Confucian, Taoist and Zen philosophies have, from different angles, described man as the product of the nature. While " man and "nature1 are different, they are not meant to be separated from or opposed against each other. Under the concept of unifying the nature and man, and with active and total involvement, artists make use of their body's moving force to fill the tip of their brushes with a feeling that has gone through subjective refinement and enhancement. In such a way, the lines created do not only show the three-dimensionality, texture, volume and movement of the subject, but also the subjective and conscious feeling. Yang Xiong(7Vÿfe24) (楊雄 of the Western Han period states the characteristics of the art of calligraphy, "So speech is the voice of the heart, and calligraphy the painting of the heart.'' (Nÿtel5) The expression of a line links up two emotional activities: one controlling the movement of the hand and the other from the heart deciding the intention of action. These two activities eventually become interwoven with each other and manifested in the lines. There are two reasons for the lines to be able to make such a record. Firstly, a line is a form of spatial expression. Secondly, a line flows and is a union of time and space. The stop of the flow means death of the spirit and emotion. As in the quotation, "Goes round and does not weary", the ever-flowing moving force is the way to show the true inner picture of a phenomenon. The psychological image is selective. Our thinking filters the irrelevant parts of a phenomenon, exposing the simplest structure and impressive tension. The selfless concentration in the single-stroke calligraphy is the perfect expression of the psychological image. In his Shuduan (literally Broken Stroke), Zhang Huaiguan陶e26) (張懷權 says that, "The form of a word is made in a single stroke. Occasionally, there are points which do not physically connect with each other but as long as the structural force is continuous, they are still linked across the broken part." The "single stroke" mentioned here asks for the continuous movement of the brush in calligraphy. This concept was interpreted by American abstract painters like Tobey and Pollock as all-over" painting, signifying the wholeness in the spirit of unifying the nature and man.

(Notel4) Yang Xiong: Philosopher, writer and linguist of the Western Han period. Chinese quotation from《法言 .問神》 (Notel6) Zhang Huaiguan: Theorist of calligraphy of the Tang dynasty.

The Meditative series of Tobey is the best example of the continuous expression of this inner feeling. Looking at his Meditative Series VIII (1954)and Meditative Series IX (1954) is just like looking up at the starry sky.There is no fixed point of view on the pictorial surface but interwoven lines scattered without forming a focal point. This is a foundation of his future works which contain the more prominent expression of "line extension". The later work Yellow Harvest in 1958 seems to bring along the joy of harvest in the thousand miles of rice field. The closely distributed white lines in Prophetic Light Dawn (1958) and Multiple Moments in Space (1959) reflect the force of life. They vividly illustrate how Tobey has changed the continuous force in the visual element of Chinese calligraphy into an all-over" visual presentation. Winther-Tamaki has pointed out that the "white writing" of Tobey was the filling up of all space in the picture with white lines, contrary to Eastern calligraphy where black ink was used to do the writing and leave behind the white space (Winther-Tamaki, 1997). The form of Tobey's expression 'appears to be the opposite of Eastern calligraphy but this form of white on black background has, in fact, long existed in the frottage of Chinese epitaph (Brice Marden even made a series of paintings in 1996-1997 titled Epitaph).

Conclusion "Animation through spiritual consonance and "structural method in the use of brush" are the Taoist aesthetic concepts advocated by Xie He(Nÿtel7) (謝赫 )ÿ which have strengthened the linear expression in Chinese art. The

pursuit for qi has reinforced the extension of lines. Under the guidance of Teng Kwei, Tobey transformed these concepts into a "wholeness" style. The works of Tobey have greatly expanded the possibilities of visual expression by lines. Artists like Sam Francis and Pollock have succeeded Tobey in practising the meaning of "wholeness" in painting. "Structural method in the use of brush" points to the movement of the brush and ink in writing, turning the communicative function bound semantically

5ÿ

(Notel 7) Xie He: Painter and art theorist of the Qi (479-502 AD) and Liang (502-557 AD) dynasties, Southern D ynasties period. Author of a treatise on painting(《古品畫錄》

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into an intuitive expression of the inner feeling. The release of feeling has instilled a living force into the lines. Tobey, Motherwell, Kline and Reinhardt have not only adopted the vertical pictorial composition of calligraphy, but also showed its abstract charm with free and bold brush strokes. From this we can confirm the significant influence of Chinese Taoist aesthetic concepts and the form of expression in Chinese art on the development of American Abstract Expressionism.

Translator's Note

Hanyu Pinyin is used for the transliteration

of Chinese names and Chinese works.

O Lai Ming-hoi, Victor vlai@ied.edu.hk Victor Lai has a PhD degree in art history and visual Arts from the Lancaster University in 2001. He is now working as an Associate Professor at Department of Creative Arts & Physical Education at the Hong Kong Institute of Education. He is also the President of Hong Kong Society for Education in Art, the Vice Chairman of Visual Arts Education section of the Hong Kong Arts Development Council, honorary adviser of Hong Kong Museum of Art.

His research focuses on modem and contemporary art history, Hong Kong popular culture, community art and culture, visual arts culture and arts education, and painting theories.

Bieia

常覺陶人幸福，既可浮遊於當代藝術洪流之上，亦可以陶泥

作工具，用手思考，馳騁於古往今來之時空當中，得到無窮啟發。

拉坯造器，早在石器時代已有先例，人類對這種中軸對稱運動似乎有著無窮慾望與迷戀。千百年來，拉坯的中介者由最

初的小型手動轉盤，發展至以木棍攪動及以腿踢動等機械形式，到今天的電動拉坯機，科技的進步似乎並未改變拉坯的

本質；每當坐在拉坯機前，廷直腰板，陶人的身體便開始為

這種原始速度的追求作好準備。

搓泥

搓泥是拉坯的基礎，除能將泥土混和，去除氣泡外，搓過的泥堅韌強壯，有種特殊的質感，令我想起要做可口的鐽魚餅就必須將 ?好的魚肉劇烈攢動，魚肉才會「起膠」，吃起來才有口感。以往陶人造器，由上山採泥，至篩選混和都一手包辦。時移世易，當代視線轉移，陶人多採用待用抽真空陶土造器，以便將精神集

中於所謂創作之上，人對物料的價值由輕視變成無知，成器的過程無可避免地給分裂異化，現代人對事物整體之掌握能力漸失，此一例也。記得有次試用未經搓混的新泥拉坯，結果陶泥傻呼呼的、在機面上自說自話，跟人和拉坯機始終未能

踏上同一步伐。這段聽起來非常文藝的鈕述，原來極為科學。陶土的份子呈六角塊狀，互相交?，每次被人手擠壓一下，這些份子便重新排列一次，產生新的收縮秩序，說陶泥有記憶、有反應便是這個意思；搓泥這縲旋動作能將沈睡的泥份

子喚醒、整頓，為隨之而來的旋轉運動作好準備。

搓泥除了能令物料更加合用，對陶人來說，這種準備，更強調的是一種內心的調節。我們每天都帶著不同的心情生活，又或說生活支配心情，來到拉坯機面前，

人就得平伏下來。身體勞動對人類的意義不單不亞於思想活動，兩者更是息息相關。重覆而有規律的運動能淨化身心，奇妙地將腦袋中的空間重新整理，讓人從

「有」進入「無」的狀態，營造一個胸襟，迎接一件新事物。

定中把搓好的陶泥放在轉盆上，陶人開始想像轉盆中央有條無形的中軸線，要將陶泥平均地安置在這條中軸線的四週，過程稱為「定中」，是為陶泥安身立命的一步。其實「定中」無時無刻在我們周遭發生，小至五金? 咀工具，中至溜冰選手在冰面的極速轉動，大至我們身處的地球，全都是圍繞著一支無形的軸心轉動，離開

了軌跡，整件事情便立刻解體。

要為陶泥定中，陶人就先要把自己的中軸線定好。有次到加拿大探訪一位陶人，

其陶室建於花園中央，拉坯機面向一只大窗，外望碧綠湖泊，是間百呎平方的小木

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屋，正是「室雅何須大」。這樣的一間雅室，對於城市人來說當然十分奢侈，然而

陶人正要擁有將這片湖泊遷往心中的能耐，讓自己明淨正直，中軸線便悠然而生。

拉坯拉坯路途崎嶇，再穩當的中軸線也會因顛簸而偏移，陶人常要把它再次扶正，方可繼續上路。跌盪、重整，如藝人走鋼線般，定中便是這樣貫串著整個拉坯過程。泥

安頓好，陶人用手指在陶泥中心點向下壓，開個洞，將洞口擴大，坯身拉高，內外空間一瞬間便由一堵泥牆建立起來，器物亦由陶人腦中的抽象概念變為實體。由於

拉坯步驟繁複，初學者會將掌握這些步驟定為短期目標，追求一種如機械般的精準。拉坯以技巧的鍛鍊為始，卻以其昇華作終；誤將技巧當作拉坯的全部，對它便

往往抱有一種征服的心態，追求的只是人主宰物的滿足感，白白錯過人與物之間雙向溝通的機會，對拉坯之真諦失之交臂。

拉坯是眾多造器方法其中之一種，其獨特之處在於人、泥、拉坯機之間的三角關係。拉坯機的角色是個速度提供者，讓人和泥得以在這特殊的旋轉環境當中建立關係。說起速度，交通工具的發明大大改變人類的生活，以速度開拓空間，讓人能在極短的時間內遊走於空間的轉換當中；不知不覺間，緩慢、停頓變成令人極難忍受

的寂寞。

曾當試閉目拉坯，當視覺關閉，皮廣觸覺變得更加敏銳，這就是陶人認知速度的方

法；就像游泳時，泳者身體每向前推進，皮虜便與反向的水流發生磨擦，在閱讀自己的速度當中獲得快感。

拉坯是種反向運動，由兩種不同形式的速度相交而成；拉坯時，坯盤無始無終地旋轉運行，而陶人的手則以直線將泥推高壓下，或以放射式由?心向外推，兩種速度以快、慢、輕、重互相制衡，追求的並不是外在空間的無限擴張，而是一種內在空間的平衡拓展。

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老陶人拉坯最好看，坯盤轉動，陶人的頭部亦徐徐地運轉起來，然而兩者打著的卻是不同的拍子，令我領悟到拉坯並不是依循機械轉動而獲得的對稱。它是一種韻

律。好的拉坯是種既飄盪又有骨幹的節奏，若即若離；既肯定，又放鬆。爵士樂手即興對奏，以音樂對話，樂手間互相牽引，是角力也是默契，跟拉坯中的三角關係有著異曲同工之妙；泥坯是這首異曲的演奏紀錄，將它單獨抽出，當作形體藝術來

看待，是種局外人片面的看法。

一如其他運動，拉坯講求身心協調，小孩子著重過程，對這活動採取一種放任享受的態度，很容易便能掌握。孩子漸漸成長，培養出不同的概念與價值觀，背負著各色各樣的包袱，要學懂拉坯自然艱難百倍。然而，對成年人來說，學好拉坯當然又

是另一種意義，它意味著一種能力的重拾，知覺的重溫。常說一只泥坯能反映個人

的性格，我對此深信不移。當拉坯的一般技巧得到掌握後，個人的性格便漸漸在泥

坯中浮現出來。在拉坯的過程當中，高度的精神集中讓我們得以進入一種純淨的人、物關係之中；我們無遐思考，沒法偽裝，人性的物化在指間點滴累積而成。

看拉坯看坯如看人，其外表與內涵互相影響，要整體有氣質才稱得上是美。人們常說白瓷坯像個二八年華的少女一樣溫婉清純，卻不易領會大缸泥盆活像南美洲的大地母親，溫暖包容，耐用耐看。人們時常讀嘆一只坯的薄，看到的只是一種視覺上的

美，對坯的體會未能完滿。當器物與其本質分離，人便再無法從生活經驗中獲得對器物的鑒?能力，於是轉以收藏者的角度，用「物以罕為貴」來概括器物的價值；

未能將造與用連在一起，更遑論進入陶人心扉，去欣賞這支中軸旋轉的舞曲。

當文字與邏輯思維理所當然地成為強勢的溝通形式，或許我們應警醒其動機與限制，去想念一些強勢以外的感知方式。完文之日，總覺文字有所欠缺，未能盡表所思所悟。原來，寫出來的，跟活出來的，確是兩個模樣。

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萬事萬物皆有依歸，拉坯讓陶人從虛空中窺探人、物之本，從「無 J 再回到

「有」，在再現的過程中尋找自我。造陶十年，方始慢慢領略箇中真諦，如此細水長流的修練，是極其緩慢的過濾與沉澱；是磨練，更是至佳的自我教育過程。往後十年，再以心侍物，定當另有體會，為以上淺見再作修正。

? 黃麗貞

fwong@hkac.org. hk

?麗貞於1997年在中文大學取得藝術碩士學位，現任教於香港藝術學院。?氏的作品曾於加 0 3 2

拿大、夏威夷、美國、德國、瑞士、台灣、韓國等國家展出。

TranslatorÿLaw

Ngar Llng,Katty

? Potters are the fortunate ones in the world of art. They ride along the contemporary torrents using one of the most ancient media on earth - clay - to create their works. They think with their hands, and find their inspiration from journeys which take them from the beginning of human history to the modern-day world. Throwing (the use of a potter's wheel to make pots) can be dated back to as early as the Stone Age. Throughout the ages, man has seemingly been obsessed by this axial-rotaiy movement. While the potter's wheel has evolved - from the earliest small-scale hand-turned device, to the mechanical rod-turned and kick edition, and then to the most up-to-date electric motorized version - technological advancement has not in any way changed the nature of throwing. When a potter sits in front of a wheel, his / her back straightened and stretched, the body is well prepared for a primeval drive for speed and motion.

Wedging Wedging is the groundwork for throwing. The process of kneading clay is important not only in achieving homogeneity in clay particles and in removing air pockets, but it produces strength and resilience in clay, a texture which can be compared to our home-made fish cake where the diced fish is mixed vigorously to produce a degree of plasticity. In the same way, well-wedged clay provides a strong body for the forthcoming centrifugal action on the wheel. Potters in the past used to prepare their own clay, from prospecting to refining and mixing, everything was under their control. Nowadays, more and more potters use commercially pre-mixed and de-aired clay, presumably saving time for the so-called "creative" process. The unfortunate result of this is that man has lost touch with the material itself. The process of creating a pot is being segmented, and the potter no longer has a clear grasp of the entire process of creation.

I once used some un-wedged new clay to throw on a wheel. Straight from the plastic packing, the clay rotated ridiculously on the wheel, like a person mumbling to himself, and refused to keep pace with me and the wheel. This rather literate description is in fact highly scientific. The molecules of clay are constructed in the form of overlapping hexagonal plates, when subject to the pressure from the potter's hands; the clay molecules will re-arrange themselves, creating a new shrinkage reaction. We say clay has memory - it remembers everything we did to it. The spiral action of wedging has the effect of waking up the dormant clay molecules, getting them ready for the upcoming rotation movement.

3ÿ

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Wedging is also a kind of spiritual preparation for the potter. Everyday our moods experience many ups and downs, but when we sit in front of the wheel, we have to put everything aside. For a potter, physical activity goes hand in hand with mental activity. Wedging, as a kind of repetitive and controlled exercise, can actually cleanse our body and soul. By reorganizing the space in our mind, the exercise elevates us to a state of nothingness. It broadens our horizons to face new experiences.

Centering The potter puts the wedged clay on the wheel-head and starts to imagine an invisible line of axis in the centre. Centering is the action to persuade the clay ball to take shape symmetrically around the axis, and is the first step in the process of throwing. Centering happens all the time in our everyday lives: the handyman's pneumatic drill, the ice-skater's rigorous spinning, and the Earth that we live - all rotate round an invisible central axis. If one departs from the original orbit, the whole thing will be

disintegrated. To center clay on the wheel, the potter has to center him / herself first. I once visited a potter in Canada whose studio was built in the middle of a garden. The potter's wheel faced a large window which opened out to a beautiful green lake. The room is small in size, about 100 square meters, but this had not compromised its elegance. For those from the city, this is a luxury - but the most inspiring thing for me is, the potter's intention to bring the lake into his heart has helped him cleanse and center himself.

Throwing It is a rocky path to throwing, and even the most securely-centered clay can go off-centered, so the potter's job is to hold it up again and again. Wobble, steady, wobble, steady, - like an acrobat walking on a tightrope, centering is the key action that carries through the entire throwing process. When the clay is finally centered, the potter pushes his fingers straight down and opens up a hole. With the hole enlarged to an appropriate size, the potter will then lift up the wall. Within a short period of time, the interior and exterior space is established by a clay wall, and the potter's abstract concept of an object is transformed into reality. As the throwing process is extremely complicated, the beginner will see the acquisition of technique as a short-term goal, and go for a certain kind of mechanical precision. Throwing starts with learning the technique, but it only ends with finding the spirit. One common misconception is to see throwing as a kind of conquest, as man's domination of clay. To see things this way will in fact miss out the opportunity of a two-way conununication between man and nature, and hence the essence of throwing.

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Amongst the many methods of working with clay, throwing is unique in that it involves a triad relationship between man, clay and the wheel. The potter's wheel is a speed-provider, allowing man and clay to connect in a unique rotating environment. Speed opens up space, as nowadays our lives have changed completely with the innovation in transport and communication. Man can now travel through space in a flick of time, and gradually, slowness becomes intolerable. I once attempted throwing blindfolded. With the sense of vision blocked, the skin becomes extremely sensitive - this is how a potter learns about speed. Like swimming, when our body goes forward, the friction caused by the movement of water against the skin creates a kind of ecstasy - the ecstasy of reading speed.

Throwing is a counteractive exercise, involving the interaction of two different kinds of force. While the wheel rotates incessantly, the potter's hands pull and push the clay up and down in a straight line, or press it outward radically from the centre. The two forces - man and the wheel counterbalance each other in speed and weight: fast versus slow; light versus heavy. The ultimate goal is not an infinite expansion of the exterior form, but a balanced creation of the interior space. Once I saw an old potter throwing on the wheel, his head moving with the rhythm of the machine, yet the two are going at different beats. I come to realize that throwing is not about following the movement of a machine. Throwing is about rhythm. Good throwing is*like a lighthearted but structured rhythm, relaxed yet confident. When jazz musicians improvise, they converse in music, they sometimes try to outplay one another, yet they play in harmony. Throwing is like a jazz performance, the pot being a record of the intricate act. If one sees a pot simply in terms of form and space without appreciating the entire process, he / she is taking an outsider view which neglects the most interesting thing about this art.

Like sports, throwing calls for a fine coordination of the mind and body. For children, who enjoy the process of playing with clay rather than the result, throwing is relatively easy for them to learn. As the children mature, they acquire different concepts and values, and take on new burdens in life, throwing then becomes much harder to learn. 6

For adults, learning to throw takes on another level of meaning. It symbolizes a rediscovery of our ability, a return of our senses. It is often said that a pot can reveal its maker's character - 1 am a firm believer of this. When a novice becomes skilled at the basics of throwing, his/her personality is gradually shown on the pots. The throwing process calls for an intense focus of the mind, allowing one to enter a pure relationship with the clay. The potter has no time to reason, no means to pretend, his/her individuality slips through the fingers and transforms into the shape of a pot.

Understanding Pottery To understand a pot is like getting to know a person, real beauty only comes with a balance of outward appearance and inner quality. People are often enchanted by a delicate porcelain ware as they are by the purity of a teenage girl. A coarse stoneware pot, on the other hand, be it functional and durable, warm and giving as the Mother Earth of South America, is often overlooked. When one marvels at how fine and delicate a pot is, he / she is only looking at the visual side of beauty, and not fully understanding the whole picture. If an object is alienated from its inner qualities, man can no longer appreciate it through experiences in life, he then turn to see it from a collector's point of view, and determine the object's value solely by its rarity. If one fails to make a connection between making and using a pot, how can he enter the potter's heart, and appreciate this waltz between the maker and clay? At a time when words and logical thinking gain the upper hand as the mode of communication, perhaps we should be aware of their limitations, and try to discover alternate modes of perception. In writing this essay, I am ever more aware of the inadequacy of words. The truth is, the reality expressed in words can be so much different from the reality lived.

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In its essence, throwing - from a state of nothingness - enables the potter to gain a better understanding of the nature of man and his creation, and on the road from "non-existence" back to "existence", the potter embarks on a process of self-discovery. In my ten years as a potter, I slowly come to understand: this is years and years of practice, an extremely slow filtration and deposition; it is tough mental and physical exercises, and it is the best kind of self-education. In the years to come, I will work with my heart and feel with my hands, and hopefully the day will arrive when I will be able to supplement what I have written in this text.

O Wong Lai Ching

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fwong@hkac.org.hk

Wong Lai Ching received her M.F.A. at the Chinese University of Hong Kong in 1997. She now teaches at Hong Kong Art School. Her works have been shown widely in Canada, Hawaii, U.S.A., Germany, Switzerland, Taiwan and Korea.

思考

影像

尋找譚偉平的《廟》 Thinking about Imageÿ

In Search of Tam Wai Ping's "Temple" *

鄧凝姿 Tang Ying Chi

影像

第三期《白文本》作者謝明莊 (註1) 對當代社會的影像有懇切的批判，他用了「殖民 J 的字眼去形容那些從吸塑中走出來的影像：支離破碎，純粹跟風，無法反映真實的情況。他所指出的事，是攝影的影像背離了攝影最初追求真實的意圖。當可攝的工具普及至日常生活中，任何人都可以隨時拍攝、互相對照影像、分享、談論或

體會科技的即時樂趣，影像呈現了甚麼，不一定是焦點所在。

2006 年8月香港一雜誌刊登了女明星的換衣照片(註2)，引來極大的反應，坊間討論了

很多關於法律、道德、專業操守等的問題，所有的輿論都一面倒指控製造和刊登照片的雜誌；然而該期刊物仍然加印、或被轉載，仍然有很多人想目睹照片的內容。在這事件中，朦朧的影像如果沒有了影星、沒有了狗仔隊、沒有了日新月異的

科技，它的迴響不一定很大。觀眾透過影像背後的各種情況去探究事情的真相，延伸影像的意義，最後的焦點往往是停留在具爭議性的題目上。

藝術作品

當代藝術加入了觀者的環節，令藝術生態多采多姿，然而藝術作品亦因此成為最具

爭議、最有問題的事情；影像的虛無主義狀態，容易成為權力的角逐牆，使廣大的群眾，有時會超越個體藝術家成為影像最有權威的演繹者。藝術作品的漂移特性變得明顯。

藝術作品是創作者追求自我真實的視覺呈現，利用所建立的視覺語言，把它變成有實質性的物，讓人可以具體看到。後現代主義時代否定絕對意思，懷疑個人經驗的

真實情況，認為藝術作品可以獨立存在，鼓勵觀者積極觀看，這種做法未盡真確：

觀者的經驗和想像或有偏差，容易傾向妥協的層面，使影像的追求有機會重複在大

眾的認知範圍內，成為互相殖民的影像。

(註1) 請參考謝明莊的文章〈被影像殖民的都市人〉《白文本》第三期，2006年 9月出版。

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(註2> 《一本便利》在 2006年8月23日刊登了女星在室內被偷拍的照片。事件的發展，除了《一本便利》加印

該期刊物外；其後《明報》在 2006年8月30 曰刊登北京有娛樂雜誌再刊登該張偷拍的照片。

走進譚偉平的《廟》

2005年譚偉平 (註3)的作品《廟》（圈一），在香港的白管子展出。白管子屬校內學生畫廊，是實驗場地，沒有甚麼藝術發展構想，沒有甚麼歷史包袱，沒有選擇、拒絕或審查租用者的作品，可以說是個由零開始的空間 (註 4)。訪問譚偉平 (註 5>時，他也坦言

這是他選擇白管子作為展出是次作品的原因，源於它沒有前設的東西。究竟這跟他

的作品有甚麼關係？

作品中最重要的影像就是廟的形象，是一間位於台灣的城隍廟（圖二。這座城隍廟原屬福建省泉州府同安縣的霞城，後遷往現在的地方，其信仰的源起為城市守護

神，其後與市鎮共同經歷社會變化，使該廟與當地社區有著緊密連繫，因此較為接

近一個社區中心的形態。筆者曾經到過這間城隍廟，它位於台北大稻埕舊區內，四周被建築物密密的圍著，雖然看起來很擠迫但卻有街坊的感覺；內裡有各種神像，

佔用空間最大的是安排月老的神像；廟的現任管理人名陳文文，其家族已經管理了這座廟有一百多年，跟她交談時，看見這個快樂活躍的管理人娓娓道出廟的歷史和

街頭巷尾的事情時，倒也覺得她相當享受現況。譚偉平道出這間廟顯示出一種活的文化，沒有前設的東西，隨著時間、人的參與而產生變化，形成各色各樣的生活形

態，塑造自己的身份特色。譚偉平只不過在一次的生活體驗中認識了這間廟宇。

生活體驗大慨就是譚偉平認為最真實的地方。他認為在真實世界裡面是沒有形容詞的，亦不需要任何人作任何詮釋 (註6>，它是最原始的狀態，在這個時期所進行或追求的事情是最實在的，亦不需要用甚麼去證明其合理性；反之現實世界裡有太多制

約，是虛的和有限的；要顛覆這現實的世界，必須要回到真實的世界裡。他的理想真實世界就是從零開始，去重新認識和感受事情，不受既有的模式影響。甚麼最能

讓他感受那種實在性？

(註3>

a偉平作品以*影為主要展出媒介。

(註4> 筆者為該畫廊的領導人。 (註5) 諱偉平 2006 年 7月在香港接受筆者訪問。 (註6>

偉平的〈藝術家自白〉，刊登於《白文本》第三期。 M參考》

gecaUfiHI the

present

7•汍•.200*

•

? 一：廟作品在白管子展II全景譚偉平作品《廟》，曾於 2005年 9月7至 25日於白管子《追溯現在》展賢中展出。

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Figurel:Tam Wai Ping's "Temple" was exhibition in white tub Recalling The Present exhibition,7-25,setember,2005.

人和土地，在互動的過程中，是最直接的感受，也是最新的經歷。長方型的相紙在窄長的場地裡，展出了整個製作過程的影像。《廟》的塑膠造型製作是在中國內陸

進行的，要找適合的工廠並不容易，譚偉平解釋並不是由於政治敏感的原因，主要還是溝通和錢的問題，但他最後也找到了屬於中型的工廠製造，所謂中型工廠是大

慨有三十至五十位工人左右。《廟》完成製作後再運回台北升空，過關時還要經過當地檢驗。最後充氣的《廟》在原來的城隍廟面前升空，《廟》在午夜後開始吹氣，直至第二天早上，用了一個晚上的時間，創作者本人充當攝影師，把升空的過程記

錄下來，整個創作旅程也就完成，由構想到完成需時六年。六年的艱辛由吹氣開始到放氣，餘下的是一大堆的影像，及讓人細想三地之間的人和事

這個藝術旅程讓他體驗人、身份、地土和歷史的關係，是相當個人的意圖和想像。手寫的文字是那經驗的痕跡，讓他仔細回憶那段旅程。在這裡，文字的運用不作為補充或修正，是直接的視覺表達，具抽象的意義。把文字與圖像放在一起並不是新

的做法，當普及影像或材料被挪用在藝術品時，文字在經意的情況下，已經被放在作品上，作為其一的視覺元素，不一定擁有甚麼意思 (註7) ; 又或者把文字作為顛覆圖像的做法 (註

。然而在這裡，文字兼備圖像式的想像和可閱讀的特性，跟作品中

其他影像同樣重要。譚偉平的作品沒有直接說明地土和歷史的關係是甚麼，他只是在創作的形式上，用了另一種方法，去展示他對地土的關懷。

這個既私人但卻有分享性的作品，是以個人去展示生活極真實的一面。看來極具繁複的作品，卻沒有走進公共的領域內；相對克里斯多

的作品，常涉及

大型公眾層面和政治拉力。譚偉平整個的作品，都是單獨行事，就算是廟升空的那一刻，沒有廣告、沒有開幕儀式、亦沒有表演項目，只有一些工作人員和路過

的觀眾。這創作形式展示個人強烈的信念，當中有示範的慨念，亦有具描述性的

非慨念內容。

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(註7) 如普普藝術年代的作品。 (註8) 如勒內 ■馬格列特(Rene Magritt6)的作品《形象的背離》洛杉磯美術館藏

of /mages) 油畫’

’

影像本身承載了很多的意思，要透過辯證才可窺探其所反映的真實。一件藝術作

品，因著原創者及其意願而製作，首先具備了個人的意義；其後經歷時代的衝擊，

而產生其他的意思。如果創作是反映某種真實的話，則原作者的意願仍是創作內各種影像的最重要參考資料。如果譚偉平的《廟》作品，當中強烈的個人意願內

容被忽略的話，他的作品就只餘下銥述性的部份而己。

參考書籍

謝宗榮，李秀娥編撰。《台灣霞海城隍廟》。台北：台北霞海城隍廟，中華民國 95年 2月（即2006 年 2月

鄧凝姿

。

stang@hkac.org.hk

鄧凝姿先後從英國倫敦大學金匠學院和澳洲皇家?爾本理工大學獲藝術學士及碩士學位。其主

要創作是繪畫和布料車縫。現為香港藝術學院講師。 ? 4 5

TranslatorÿChoi

Wing-sze

Image In Issue No. 3 of White Text, Tse Ming Chong(Nÿtei) earnestly criticizes images in contemporary societies, using the word "colonial" to describe those duplicated images: fragmented, mimic, unable to reflect reality. What he points out is that the photographic images have departed from the original intention of photography in pursuit of reality. When photographic equipment is popularized in daily lives, anyone can take snapshots anytime, cross-reference, share, discuss or experience the instant joy brought about by technology. What an image shows may not be where the focus actually lies.

In August 2006, a Hong Kong magazine published a photograph showing a female star getting changedrNÿte2>. The incident aroused strong reaction and public opinion about law, morality, and professional conduct etc., all one-sidedly accused the magazine for publishing the photograph. Yet, that issue of the magazine was reprinted and copied by other media, and many people still wanted to have a look at the content of the image. Without movie star, stalkerazzi, and advanced technology, that blurred image might not have aroused much response. Through the different situations behind the image, spectators explored the truth, extended the meaning of the image, and eventually their focus will very often end at a controversial topic.

(Notel) Please refer to Tse Ming Chong's article 'Image Colonization' published in White Text, No. 3, E-

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September 2006. (Note2) The magazine Easy Finder published a candid photograph showing a female star getting changed indoor. In addition to reprint of the magazine, Mihgpao subsequently reported on the same day that a magazine in Beijing had republished that candid photograph.

Artwork The incorporation of spectators' participation has made the art scene more colourful, but has also made artwork the most controversial and problematic issue. The nihilistic nature of images will easily become a place for power struggle, enabling the crowds to sometimes override individual artist and become the most influential interpreters of an image. The drifting quality of artwork has become obvious. Artwork is an artist's pursuit of visual representation of his/her authenticity, in which he/ she visualizes his/her, established visual language into visible object of essence. The age of Postmodernism may not be completely right in denying absolute meaning, putting one's experience of reality into doubt, considering artwork as an independent entity of existence, and encouraging viewers' active seeing. Discrepancy between viewers' experience and imagination may easily tend to a compromise, making the repetition of images possible within the scope of public recognition, leading to mutual colonization of images.

Entering Tam Wai Ping's "Temple" In 2005, Tam Wai Ping's (Nÿte3) "Temple" (Figure 1) was exhibited in White Tube in Hong Kong. White Tube is a students' gallery of the Hong Kong Art School. The space, which started from zero, is an experimental venue with no particular plan for art development, no historical burden, nor any selection, refusal or examination of renters' works(Nÿfe4ÿ. When Tam Wai Ping(Nÿfe5) was interviewed, he frankly explained that the reason why he had chosen White Tube to exhibit his work originated from the venue's absence of pre-assumption. In fact, what has this to do with his work?

r (Note3) The main medium of Tam Wai Ping's work exhibited was photography. (Nofe4) The author is the Head of White Tube. (Note5) The author interviewed Tam Wai Ping in July 2006.

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The most important image of the work is the image of a temple called Cheng Huang Temple (Figure 2) in Taiwan. The temple, originated in Xia County of Tong An Prefecture of Quart Zhou Government in Fujian Province, was subsequently relocated to the present location. The religious root of the temple originated in being the guardian angel of the city, which later on experienced social changes together with the borough over time, creating a close tie between the temple and the community, and is therefore closer to being the centre of the community. The author has visited the temple. It is located in the Ta-Tao-Cheng old area in Taipei, surrounded by densely populated buildings, looking condensed but with a sense of neighbourhood. There are different kinds of statutes inside, in which the god of matchmaking occupies the largest space. The present manageress is Chen Wen Wen, whose family has managed the temple for more than a hundred years. As you listen to her happily and actively telling you about the history of the temple and the happenings around, you can feel her contentment and enjoyment of her current status. Without pre-assumption, Tam Wai Ping narrates the living culture of the temple, which changes with people's participation over time and shapes its unique identity and creates all kinds of living conditions. Tam Wai Ping considers life experience as the most realistic thing. He thinks that there are no adjectives in reality, nor does it need anyone's interpretationfNÿfe6jÿ it is the most primitive state, in which things in

process or being pursued are the most substantial and are beyond reasoning. On the contrary, there are too many virtual and limited restrictions in reality. In order to revolt, one has to return to reality. His utopia is a world starting from zero, in which one learn to know and feel things afresh without being influenced by preconceptions. What can make him feel that kind of substantiality?

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(Note6) Please refer to Tam Wai Ping's 'Artist Statement: Here,ILook at Me over There' in White Text,

Issue No. 3.

'\m

Figure 2: Tam Wai Ping, Temple, White PVC, Helium, Taipei Xia-Hai Temple of the City God, 2005, (L) 7 x (W) 5.5 x (H) 6 metre. (Production: Shenzhen Factory, Shi Ling in Hua Dou, Guangdong.)

圖二：

謀偉平，《廟》，白色PVC膠料氣球、氦氣，台北霞海城隍廟，2005，（長 7米x (闊 5.5米 x (高 6米。（製造廠：廣東花都市獅領鎮高思維廣告氣球廠） t

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Interaction between man and land is the most direct sensation and novice experience. Rectangular photographic papers in the elongated venue presented the whole process of making the image. The PVC model of the temple was manufactured by a medium-sized factory with about thirty to fifty workers in China. Tam Wai Ping explained that finding the right

factory was not easy, not because of political sensitivity, but mainly because of communication and budget. The completed temple, on its way to Taipei, was subject to scrutiny at the immigration. Eventually, the blown-up temple was flown into the air right above where the original temple was located. The blowing of the temple lasted for the whole night, started at midnight and finished the following morning. The artist himself was the photographer who documented the whole process. The creative journey came to an end as the process was documented. The project has last for a total of six years. Six years of hard work, from blowing air to releasing air, leaving behind a pile of images and people's stories in the three countries for us to ponder over. This artistic journey was one of personal intention and creativity, in which the artist experienced the relationship among human, identity, land and history. Hand-written text is the imprint of that experience, enabling him to recall the journey in detail. The use of text in this context is not for supplement or revision, but for direct visual expression of abstract meaning. The juxtaposition of text and image is not a new method. Since the popularization of images or application of materials on artwork, text has been deliberately placed on artwork as one of the visual elements, which may not necessarily carry any meaning (Nÿte7), or text has been used as a way to revolt images(Nÿte8) . In this piece of work, however, text carries equal importance as images, as text possesses the readability of visual imagery. Tam Wai Ping's work does not directly narrate what the relationship between land and history is, but only uses an alternative method to convey his concern for land in his creative process.

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(Note7) Similar to the work in Pop Art movement. (Note8) Rene Magritte, The Treachery of Images, Oil on canvas, 1929, Collection: Los Angeles Country Museum of Art.

This work of private but sharing quality reveals the real side of life by using the artist as an individual. Unlike Christo's work in which the mass public and political tension are very often involved, Tam Wai Ping’s work, though appears to be complicated, has not entered the public domain. He completed his whole work alone. Even at the moment when the temple was flown into the air, there was no advertisement, no opening ceremony, nor any performance item, but only a few workers and passers-by. This creative process shows a strong sense of individual belief, in which exists a demonstrative concept and also descriptive non-conceptual content.

Images themselves carry many layers of meaning, in which validation is necessary to explore and reflect the reality. A piece of art comes into existence out of the artist's aspiration, which provides the art work with personal meaning in the first place, after which come other meanings as time goes by. If the creation reflects certain level of reality, the artist's aspiration remains the most important source of reference in the creative process. In the case of Tam Wai Ping's "Temple", if the content of his strong personal aspiration is neglected, then nothing but only the narrative side of his work remains.

3ÿ

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Reference List 謝宗榮，李秀娥編撰。《台灣霈海城隍廟》。台北：台北霞海城隍廟’中華民國95 年 2月（即 2006 年 2月

* f?*

5 2

。

Tang Ying Chi stang@hkac.org.hk

Tang Ying Chi obtained BA (Hon.) in Fine Art in Goldsmith's College, University of London in England and MFA, RMIT University in Australia. She is working in painting and fabric sewing. Tang is currently the lecturer of Hong Kong Art School.

藝術家自述 : r 家豪說 Artist Statementÿ Wilson Shi eh

on Wilson Shi eh

石家豪 Wilson Shieh

許多人問我：「為甚麼畫工筆畫？」我答覆了很多次，有不

少答案已在雜誌和出版刊物報導過。又有許多學生問我，為甚麼學藝術？我想，不如為此而寫一篇小傳，介紹我在學生時代的學畫經驗。我亦嘗試把畫工筆畫的優點總結，換個說

法舖陳出來。正本

我並非自幼便立志當畫家。對於藝術，自小意念模糊。在香港，小學的美勞課及中學的美術課，教曉我們藝術是消遒一環，可陶冶性情。校內美術成績好，考試可以拿 A 等，但換不成分數，對總成績無補於事。

我第一次去的香港藝術館，是在大會堂高座十樓，那時大概是中四、中五時代，原因

是要看一個學生海報設計展 K。第一次去香港藝術中心，大概是中六、中七時代，看的是「包浩斯」

歷史與作品展。那已是中學時代僅有參觀藝術機關的經

驗。

但就繪畫技巧的學習和累積來說，我算得上很幸運。我的美術知識，都是學校美術老

師所授予的。

小六甫開課，美術老師便說，六年班了，我們來學素描。上學期開始用鉛筆畫畫，由圓柱雅、空心圚筒、圖椎體、球體、茶杯、水瓶，每周一種，然後到難蛋、水果、茄

類、瓜類等；下學期改用廣告彩畫，完成一幅一幅的靜物寫生。小六是發育期的開始，素描技巧是告別童稚的象徵，我用心學習，在一年的時間內，自覺長大了。畢業時我畫的茄子，紫色的皮，底部有陰影，頂部則有白色反光點，頗有真實感。

中二時，我遇到另一位對我很重要的美術老師。他也教素描，教我們手握鉛筆，可量

§ÿ'

| ? 5 4

度對象的橫直比例。然後是透視學

Perspective) 可以表達室內空間，用兩點透視

用一點透視 (One-point

Perspective) 可以表現室

%，

\ A

八.

Picture of Eight Poses 《八姿圖》

//ÿ

ii Sketches of Wilson Shieh 石家豪的草圖

Perspective) 可作鳥瞰圖

外的建築，用三點透視

翱翔於城市上空。中三時，他教色彩學

View}ÿ

Theory)，用紅橙黃綠藍紫六種廣

Hue) 圖，色與色之間盡量調校細緻變化，結果共調出二

告彩，調配色相

百四十種色相。然後是明度的黑沉。最後是彩度

圖，每種色彩由高明度的發白，調校至低明度圖，把每種色彩漸次調校至灰色，保持統一明度

，老師說若以黑白菲林拍攝，每種色的彩度變化，在相片中會成為不變的灰調。中

三升中四的暑假，我在家中用廣告彩寫生，畫窗外景物，我畫了仍在建造中的信德中心，兩幢孿生大樓，包裹在綠綠的網中，老師說，可以拿去教育司署參展。中四升中五的暑假，老師離校了，我幫手收拾雜物，清理美術室，老師送我一整套未用過的塑膠彩，我用紙黏土造成一套十二生肖，每種動物如尾指般大，老師把牠們統統收藏了。這位老師還說過，美術好的同學，可以報考港大建築系。

後來，我果然入讀香港大學建築系，那年是1989 年。但不足一年，我便退學了。建

築系其實是一個有趣的地方，收錯了許多學生。一年級入學時有五十多人，到五年級畢業時只餘廿幾人，夭折率達五成。五十多人的一年班分為四組，我組的教授特

別?害，他是建築學院院長，馬來西亞華人，留學美國普林斯頓大學，曾於格羅佩

斯

Gropius) 建築事務所工作。上課時說英語，心情佳時會說粵語，悄怒

時會當場撕毀同學的模型。有一次他出題，以一個邊長六米的立方空間，設計成為

一個三人家居，並須在室內掛一幅現代畫，增加空間感。他列舉了一些畫家名字：

畢卡索克

Picasso)、馬蒂斯 Munch)、克利

Matisse)、夏卡爾 Klee)、蒙特里安

Chagall)'蒙 Mondrian)、布拉克

(George Braqu 句等。除了畢卡索，其餘的名字我未有所聞。我們組同學在圖書館找齊這等畫冊，用照相機翻拍了選定的畫，沖印出照片，貼到習作模型牆壁上。

功課完成了，我卻留著畫冊細閱，覺得甚有趣。往後我常到圖書館的藝術書架，把畫冊逐本逐本翻開，當試理解現代繪畫。而建築課呢，則愈來愈少上。

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離開香港大學後，我重新報讀中文大學藝術系。四年學習藝術的生活，說來話

長。概括地說，我欲主修藝術是源於對西方現代藝術感興趣，到畢業時我畫的卻

是中國式水墨

ink painting) 及工筆人物畫

figure

painting)。中大藝術系有中西藝術兩主軸，基礎課程兩者必修，到高年級則自由取捨。一、二年級的基礎課程中，我最感興趣的是油畫

膠彩

painting) 和塑

painting) 課，應付過堂上習作，總急著自己的創作。我愛到圖

書館流連，看所有的畫冊，翻閱新舊藝術雜誌。我也頻頻參觀展賢，從藝術館、藝

術中心、藝穗會、畫廊、文化中心、文娛中心、大會堂、 CCDC(City

Contemporary Dance Company) 城市藝廊、中華文化促進中心、大一設計學院。甚麼地方都願意到，甚麼展賢也願意看。二年級的暑假日子，我都在大學的畫室混，籌備著第一次在校外的個展。數月後，我在香港文化中心展出二十幅油

彩及塑膠彩畫作，那次是《藝穗節'93》

Fesf/Va/) 的項目之一。

一、二年級的基礎課程中，有書法課，學隸書、楷書，也有國畫課，學蘭竹、樹石山水，我當是歷史知識，不能不曉，但沒有額外用心思考。後來遇到一位本地畫家，畫塑膠彩，抽象畫。他對我說，香港畫家之中，最喜歡丁衍庸；而國畫家

中，黃賓虹的章法也很絕。從此我對於中國畫的學習更加留心，看畫也看晝論。

三年級時，選修了中國人物畫課。上堂時，老師示範工筆畫說，這是遊絲描，有如春蠶吐絲，延 ?不斷。然後用毛筆勾劃出一道彎彎的線條，既幼細，又勻稱，

原來是衣服紋理，我就此為這種感覺著迷了。古人繪畫人物，造型精煉，想像豐富，筆下情真。不過經歷時代洗劫，種種畫理畫法，陸陸緝續失傳。課程完結

後，我開始研究工筆畫，我依古法臨摹名家作品，我找尋各種木刻人物畫譜，我

學習用毛筆線條勾勒出一個個完整的人像，我畫我的同學們，也畫想像的人物題材，我學習絹本繪畫，也學習渲染和賦色技法，慢慢把各種練習整合起來。

三年級時，我亦選修了「現代藝術（中國部份 >」。教授從清末、民國、抗日，談到

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1949年後的大陸，也論及台灣、香港，以至海外華人藝術家。內裡有遁世名士，也

有革命志士；有人守護傳統，有人痛斥傳統；有人留學歸國，有人離國不返。每一個藝術家名字，就有一個動人故事。現代中國的藝術發展，是傳統士人文化的逐漸

消亡，繪畫形式上則仍不斷更新；西方及外來文化的衝擊，令中國藝術家們一代一代地應對著，反思解惑，謀求進路。

三年級時，我在香港藝術中心看了德國當代畫家伊曼朵夫

Immendorff) 的大

型個展，他本人亦來港主持討論會。伊曼朵夫是新表現主義

畫家，他的作品書幅大而有震撼力，看過其原作，才驚覺從前在畫冊中得到是錯誤印象，也感到華人畫家們原來畫不出他那種粗野的感覺。這份文化差異感令我洩氣

，原來一直喜歡的東西離自己那麼遠，真是一廂情願。在這次衝擊的體驗下，我暫

且放下了油畫創作。四年級時，我全力投入國畫的學習。除卻花鳥畫、人物畫、書法及篆刻課外，在「中國繪畫史」課程中，我對古代畫種和畫論有更多瞭解，我把更多時間集中到研習人物繪畫，計割著畢業以中國人物畫為創作主導。最後，我畫

了一組六幅水?人物畫，一開八幅同學肖像白描淺設色冊頁，以及一幅工筆人物，畫兩個搖滾樂手，就這樣，我便畢業了。

畢業後，我開始更集中研究工筆畫法，也當試建立題材的範?。不久，我開始展出

已為人熟悉那一類工筆人物作品，以後的故事，都是大家所能目睹的。

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(附錄

畫工筆人物畫的好處

1) 畫幅小，在書桌上已可作畫，省地方又省租。 2)

工具材料容易買，中環或油麻地可購得。

3) 收藏方便，紙或絹本作品托裱後可重? 捲進畫筒中。 4)

頗環保，紙絹等物料耗費不多，用色用墨只以點滴為單位。

5) 同行競爭少，突出機會大。 6)

觀摩機會多，香港藝術館、大學博物館及拍賈行春秋兩季預展，都可見工筆

人物畫，大陸及台灣的博物館當然有不少藏品，海外的博物館偶爾也可碰上。

7) 參考書籍也多，各大署店有售。 8)

作品可賣錢，我也資了不少。

9> 題材多多，凡人情世事，皆可入畫。 10) 精緻細?，額外有觀眾緣。

O石家裹石家裹1970年在香港出生，1994年獾香港中文大學藝術學士及 2001 年藝術系碩士學位。以中國工筆人物繪畫為主要創作媒介，內容環繞性別、角色、服裝及文化符號等議題。重要聯展有香港藝術館的《香港風情 ■水?變奏》 0003年）、澳洲布里斯本昆士闌美術館的《第三屆亞洲太平洋當代藝術三年展》年。獎刊包括美國佛蒙特創作室中心的《富爾門基金會亞洲藝術家獎助》及香港藝術館的《香港藝術雙年展 2003優秀獎》年卜

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TranslatorÿAmy Chin

Lots of people have asked me, "Why do you practice fine¬ brush painting?" I have answered this question many times, and a lot of them can be found in various magazines and publications. Lots of students have also asked me, "Why did you study art?" Then an idea came into my mind: write a short autobiography to share my experience of studying art as a student. Besides, I will also try to summarize the advantages of fine brush painting in a clear and simple way. The main text

Becoming a painter was not my childhood aspiration. I only had a vague idea of what art was as a kid. In Hong Kong, what we’ve learnt from the art and craft classes at primary school and art classes at secondary school is that art is a pastime, a way to cultivate one's temperament. Even if you get good grades in Art and or an A in examinations, you cannot convert the grade into marks; and therefore it does not contribute to improving your overall result.

My first visit to the Hong Kong Museum of Art, which was located on tenth floor at the High Block of City Hall, was when I was in Form four or five. I went there to see a students' poster design exhibition. Another first visit to the Hong Keng Arts Centre was to see an exhibition on the history and works of Bauhaus, when I was in Form six or seven. Those were the few and only experiences that I had as a secondary school student in visiting art institutions. In terms of the learning and accumulation of drawing and painting skills, however, I have been very lucky. My knowledge in art was all passed on by my art teachers at school. In Primary six, just after school term had started, our art teacher | said that since we were sixth graders, it was time to learn drawing. We began in the first semester with pencil drawing one item per I week, from cylinders, hollow cylinders, cones, spheres, tea cups to 6 water bottles, followed by eggs, fruit, aubergines and melons etc. '

In the second semester we used poster colours for still life painting. Primary six was the beginning of puberty, drawing skills bade farewell to childhood symbols. I learnt attentively and felt that I had matured a lot during that year. By the time of graduation, the aubergine I drew was a realistic one with purple skin, a cast shadow underneath and a reflected light at the top. In Form two,I met another art teacher who had a great impact on me. He also taught drawing, teaching us how to measure the proportion of our subject matters by holding the pencil in our hands. And then we learnt about perspecttve: using one-point perspective to express interior space, two-point perspective to express outdoor architecture, and three-point perspective to present a bird-eye view of the city. In Form three, the teacher taught us colour theory. By using six poster colours (red, orange, yellow, green, blue and purple), we created a colour wheel with a total of two hundreds and forty hues with subtle gradations from colour to colour. After that came the value chart, in which each colour was presented from the brightest white to the darkest black. Finally was the intensity chart, in which we adjusted each colour gradually to grey while keeping the same brightness. The teacher said that if we took photographs with black and white films, the changes of intensity in each hue would become different shades of grey. During the summer break between Form three to Form four, I stayed home and painted the twin Shun Tak Centre from my window with poster colours, wrapped in green mesh, still under construction. My teacher said that my painting could be sent to the Education Department for exhibition. During the summer break between Form four and Form five, my teacher was leaving the school and I helped out with packing up things in the art room. The teacher gave me a pack of brand-new acrylic colours. I made a set of twelve animals with paper clay, each the size of a little finger, and gave them to him as a parting gift. This teacher also said that students with good grades in art could enroll in the Faculty of Architecture of The University of Hong

Kong (HKU).

I got admitted into the Faculty of Architecture of HKU in 1989 just as expected, but I discontinued my studies in lessthan a year. The Faculty of | Architecture was an interesting place that enrolled many "mis-matched" i. students. There were more than fifty students in Year one, but only about

twenty or so graduates left in Year five, with a drop-out rate of 50%. The fifty plus students in Year one were divided into four groups. The professor responsible for my group was the Dean of the Faculty, a Malaysian Chinese who studied at Princeton University in the United States and once worked at Walter Gropius. He used English during lectures, spoke Cantonese when in a good mood and would tear apart our models in front of our class when furious. Once he gave us an assignment to design a home for three persons using a 6x6x6m cubic space, and somewhere in the room we must put up a modem painting to enhance the sense of space. The painters he mentioned included Pablo Picasso, Henri Matisse, Marc Chagall, Edvard Munch, Paul Klee, Piet Mondrian and George Braque. Except for Picasso, I have no idea of the rest. Our group looked up the relevant art books at the library, took picture of the painting we selected, developed the image and stuck it on the wall of our model. After the assignment was finished, I kept the art books and read them in detail, and I found the paintings quite fascinating. I then began visiting the library frequently, reading the art books one by one, trying to understand modem paintings. Meanwhile, I showed up less and less for architecture class.

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Leaving HKU, I applied for the Department of Fine Arts of the Chinese University of Hong Kong (CUHK). A lot had happened during my four years of art study. To make it short, what drove me to study art was my interest in Western Modem Art, yet by the time I graduated I was doing Chinese ink painting and Fine-brush figure painting. There were two main streams at the Department of Fine Arts at CUHK, Chinese and Western art. The foundation courses for both streams were compulsory, while students could select to study whatever courses available in their senior years. During my first and second year, what interested me most were oil painting and acrylic painting classes. I was always anxious to do my own paintings after finishing the required assignments. . I liked hanging around at the library to read all the art book collections and art journals, old and new. I was also a frequent visitor to exhibitions, from the Hong Kong Museum of Art, the Hong Kong Arts Centre, the Fringe Club, galleries, the Hong Kong Cultural Centre, civic centres, the Hong Kong City Hall, the CCDC (City Contemporary Dance Company) Gallery, the Institute for Promotion of Qiinese Culture to the First Institute of Art and Design. I was willing to go to any location to see whatever exhibition

that was on show. During the summer break of Year two, I spent my time at the university's studio preparing for my first externalsolo exhibition. A few months later, I exhibited twenty oil and acrylic paintings at the Hong Kong Cultural Centre, one of the events of the Fringe Fesft•加Z '93 The foundation courses during Year one and two included calligraphy classes (clerical script and regular script) and Chinese painting classes (plant painting and landscape painting). I regarded them as knowledge about art history that I had to learn, without paying extra attention though. Later I met a local artist who painted acrylic paintings and abstract paintings. He told me that his favourite Hong Kong artist was Ding Yanyong; while Huang Pinhong's technique was one of the best among Chinese painters. Since then I have become more attentive to learning Chinese painting in class, appreciating paintings and also reading art theories.

In Year three, I study Chinese human figure painting as my elective. While our lecturer was demonstrating in our class, he told us that the silk-thread like fine-line resembled the continuous spinning of silkworms. As I watched him using a brush to draw a fine and even curve which turned out to be the texture of drapery, I was instantly fascinated. In ancient times, people drew figures with refined details, vivid imagination and genuine passion. Over time, these painting theories and techniques were gradually lost. After the course, I began to study fine-brush painting. I followed the ancient method to copy famous paintings. I searched for various albums of woodcraft portraits and learned to use fine brush to outline a figure. I painted my classmates as well as imaginary subject matters. I learnt silk painting, colour staining and colouring techniques. Slowly I integrated allthese skills asa whole. In Year three, I also took the course Modern Art (Chinese), which covered Chinese art history from the late Qing Dynasty, the Republic, anti-Japanese era up to post-1949 China. The course also covered Chinese artists in Taiwan, Hong Kong and overseas. Among them, some were conformists while some were revolutionaries; some upheld traditions while some condemned traditions; some were educated abroad and returned to their homeland while some left and never return. There was a touching story to each and ? every artist. The development of modern Chinese art is a gradual | disappearance of the Literati culture alongside the constant renewal of I painting styles. Generations of Chinese artists have been coping with 3 foreign and western culture, seeking waysto reflect and to evolve.

year three, I saw a large exhibition of the Germany contemporary painter Jorg Immendorff at the Hong Kong Arts Centre. The painter

was in town to host a seminar as well. Immendorff was a Neo¬ expressionist painter; his paintings were large in scale and great in impact. Looking at the originals, I realised that the impression I got from art books was not accurate. I also realised that Chinese painters were not able to express the rough feelings as he did. As I realized that the thing I had liked was in fact so far away from me, and that it had only been my own wishful thinking, I was discouraged by the cultural difference. Having experienced this crush, I stayed away from oil painting for a while. In Year four, I devoted myself to the learning of Chinese painting. Other than flower and bird painting, figure painting, calligraphy and seal engraving, I also gained much more understanding of ancient painting styles and theories through the course Chinese Painting History. I devoted much time to study figure painting, and planned to focus my graduation projects on Chinese figure painting. In the end, I graduated with a set of six Chinese ink figure paintings, an album of eight light colour outline drawings of my classmates' portraits, and a fine-brush figure painting of two rock singers. After graduation, I began to further my study of fine-brush painting and tried to build up a portfolio of subject matters. Soon after that, I started to exhibit the familiar fine-brush figure paintings. The rest of the story is noticeable to all.

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(Appendix) Advantages of fine brush figure painting 1) Size of painting is small. You only need a desk top to paint,saving

space as well as rent. 2) It is easy to buy the materials you need. They are available in Central and Yaumatei. 3) Paintings are easy to store. After mounting,the paintings paper or silk scroll can be piled and rolled up and then stored in tube containers. 4) Relatively environmental friendly. Paper and silk scroll do not cost much,and the amount of colour and ink used can be measured in driblets. 5) Few competitions, higher chance to succeed. 6) Lots of opportunity to see others' works. You can see fine brush figure paintings at the Hong Kong Museum of Art, University Museum and Spring and Fall previews by auction houses. There are quite a lot of collections in museumsin Qiina and Taiwan,and occasionally overseas. 7) Lots of reference books available at book stores. 8) Works can be sold for a price. I have sold a number of my paintings. 9) Lots of subject matters to choose from. Anything that happensin life can become a subject matter. 10)The delicacy of fine brush painting is particularly appealing to the audience.

o Wilson Shieh Wilson Shieh was bom in Hong Kong in 1970. He received his B.A. degree (fine art major) and M.F.A. degree from the Chinese University of Hong Kong in 1994 and 2001 respectively. He works in Chinese fine-line style figure painting, with contens of sexuality,role-play, costume-play and cultural symbols presented in a narrative approach. Selected exhibitions include Hong Kong Cityscapes - Ink Painting in Transition (Hong Kong Museum of Art, 2003), The Third Asia-Pacific Triennial of Contemporary Art (Queensland Art Gallery, Brisbane, Australia, 1999). Awards include Asian Artists Fellowship 2003, Freeman Foundation (Vermont Studio Center, USA) and Prize of Excellent, Hong Kong Art Biennial 2003 (Hong Kong Museum of Art).

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之 30 曰

蔡穎思 Choi Wing-sze

進修藝術課程是自小的心願。從香港中文大學畢業後，恍眼便十年，一直很想回母校完自己的未了夢。然而，既要兼顧現實

生活又要實踐理想，香港藝術學院是我在本地的唯一選擇。開學前，曾打聽過有關學院的口碑，結果當然是眾說紛紜、莫衷一是。於是我懷著一大堆未知與問號踏進香港藝術學院。如今

路走了一半，到底我有什麼領悟？

師生一起參觀第二屆《廣州三年展》，2005年12月。

Teachers and students visited the Second Guangzhou Triennial in December 2005.

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香港藝術學院香港藝術學院的學生來自五湖四海，無論國籍、年齡、學歷、職業，五花八門，十分多元化。各人的背景不一，作品的概念、取材、內容以至表達手法都各具特色。

由於學位課程與皇家墨爾本理工大學合辦，學生有機會跟本地及海外的學者上課。課程設計方面，除了主修科（陶瓷 / 繪畫 / 攝影）及選修術科，學生必須修讀藝術

史及文化理論。加上各式各樣的課外活動如講座、遊學團、藝術刊物、籌辦展覽、與友校交流、參觀本地、內地以至海外的展覽等，藝術學習不再受制於課堂之內

而是貼近時代，走進社群。

相對於其他本地大專院校，藝術學院缺乏了一般受政府資助大學的資源及學習配套的優勢，如藏書量豐富的圖書館、多元的學科選擇（如通識教育）、全職學習的校園生活等。籠統地說，藝術學院的訓練是較集中的專業藝術訓練，而其他大專院校

的藝術課程則較接近人文科學的訓練。藝術學院的學生不像其他院校的全職學生般幸福，除了要付出較昂貴的學費之外，如想深化個人的學術闊度及深度，便有賴個

別學生的自發及努力。然而，藝術學院的導師及學生一直努力地在限制中更臻至善。

思維轉換在學習的初期，學院的教學方法、課程選材、唸藝術史的先後次序，均令我莫名奇

妙，有些同學更感到吃力及難於適應。課堂內外，不難發現師生之間的激烈討論，各持己見但又各有道理。我便是討論得面紅耳赤的其中一份子。但當我嘗試放低自

己，去明白了解導師的動機及教學理念，我開始漸漸明白他們的心意。縱然我對藝術教育仍有自己的看法，學院及課程亦有許多可改善的空間，但心中仍是感激的。

如果作為學生能參與課程設計，首先我會建議藝術歷史先由「藝術導論」入門。

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雖然我有修讀藝術史及寫作論文的經驗，但由於丟下書本太久，起初還是需要經過一段適應期。由於本地中、小學的藝術課程鮮有探討藝術歷史，對於欠缺藝術

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由香港藝術學院舉辦的倫敦文化團，2005年10月。

London Cultural Tour organized by the Hong Kong Art School in October 2005.

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史及寫作論文經驗的本地同學，在完全沒有預備及培訓下，便要以英文應付藝術史考試及論文，難免令學習變得吃力。藝術學院選擇了由現代及當代藝術入手。在我

的經驗中，從學生身處的時代出發，在耳濡目染之下學生能較自然地投入當下的藝

術環境。但無論是由古到今還是從今溯往，我仍堅持藝術導論一科是必須的。藝術

學院若可按同學的實際需要，於開學初期指導同學有關學術研究、資料搜尋、寫作論文等基本知識，相信能大大減輕同學起步的困難。

藝術學院的術科，較注重學生的概念發展及自學研究，技術傳授為次。然而對於一

班在職人士而言，時間是一個很大的限制。學院對基本功的傳授，尤以繪畫科，較著重同學自己的纘研。相對於陶瓷、攝影及雕塑等，由於牽涉一些基本工具及材料的使用及安全，基本功夫的傳授是必須的。但我發現，主修繪畫的同學的程度不一，同學在學習的首年，一方面要專注基本功的操練，另一方面又要顧及創作概念

的發展，不少同學在學習很早的階段，便或多或小會經歷不同程度的迷茫。導師如

能體察成人學生面對的限制及困難，對有需要的學生予以適量的引導，多一點接

納、分享與鼓勵，能大大減輕學生在創作路上的困惑與迷茫。

記得有一次，我正困惑於自己一系列探討基督教信仰中愛與罪的作品。那段時間看

了許多書，也不停地思索反省人生存在的問題，但創作卻走進瓶頸，覺得自己很窩囊。當時負貴的導師一直知道我對技巧的執著及困擾。他看著我一??的研究資料

及作品，想了想，對我說：「太執著於技巧的讚研，不停地貴怪自己的不足，藝術對你來說反而變成了一種懲罰，就如你探討的『罪』。當天你不是因為愛藝術而進修藝術嗎？在愛裏沒有恐懼。嘗試放鬆自己去享受藝術。文字與圖像，兩者都是你

的一部份，放心繼續走下去吧。」那一刻，他的一番話，如閃電，觸動我的生命。

我相信此生都不會忘記導師當天的鼓勵。

藝術學院對學生作品的質素有很高的要求，但更關注學生的學習過程及專業創作態度。評估較為全面及學生為本，不會只針對作品的視覺效果及技巧，而是有層

次地抽絲剝繭，去剖析學生創作的不同層面。導師的身份不是大師，而是啟導者，在創作過程中去幫助及啟發學生。導師們會因材施教，鼓勵同學按自己的能力及興趣，從當下的時代出發；學生在學習過程中往往能各展所長，從而建立其獨特的視覺語言及個人風格。學生的個性特質，在沒有框框及包袱之下得以發揮。故此，在

藝術學院的畢業展，很難發現畢業生的作品帶著某某導師的影子。當然藝術學院的

學生既要糊口又要創作，時間精力有限，往往比全職學生少時間操練，同學惟有在個人的限制中盡力而為。這也正正解釋了為何藝術學院的畢業展往往比其他本地大

專院校全日制課程的畢業展遲三個月至半年才舉行。生活的迫人與理想的實踐之間如何平衡及堅持，不足為外人道，相信只有經歷過的人才能明白。

常聽說藝術教育很不容易，如何在輕與重、收與放、施與受之間取得平衡，拿捏準確，真是一門「藝術」。藝術學院的導師對教學的熱誠是不容置疑的。師生之間若能夠互相尊重、加強溝通，定能教學相長。回顧過去的學習，我經歷過藝術創作的

過程及掌握了基本的藝術研究方法。我知道可以如何走下去。在學習的過程中，我的藝術視野擴闊了、對世界的胸襟開放了、對人生亦有更深刻的體會。

理想與現實的弔詭近年不少年輕藝術家，喜歡聚首開闢工作室，如火炭、觀塘及柴灣工業區，也有少

數藝術學院的藝術家於灣仔開設工作室，漸漸形成一個個藝術小社群。當中以火炭人數最多，亦以香港中文大學的藝術畢業生為主。他們當中不乏全職投身藝術創作的藝術家，透過自由身或兼職工作如教畫、設計、研究，以賺取生活費。相對藝術

學院大部份有正職的藝術學生，後者背景較為多元，分佈也比較廣，各人念藝術的

目的不一：有為興趣的、有為尋夢的、有為增值的。他們畢業後未必全部投身藝術行業，大多數仍是緊守崗位，以工餘的時間創作。相對全職藝術家，這批非全職創

作人為數不少。但有人會質疑：後者非全職的創作身份，是否仍稱得上是藝術家？

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誰有資格評定誰是藝術家？再推遠一點，是否必須要受過正統藝術訓練才能成為藝

術家？同學有時心中不禁會問：要在藝術界生存，是否要參與比?並獲獎？是否要

有畫廊垂青？是否要全職創作才是藝術家？我個人認為，藝術往往都源於個人的追求。但在現實世界中，個人的追求是一回事，要在藝術界中生存以至被認同卻又是

另一回事。

當全職藝術家要靠自己的作品為生時，難免要迎合市場的品味及顧客的需要；縱使不願

口裏承認，但心裏有時還是難免要作出某程度的妥協。反之，當藝術家不用急於出售藝術作品時，他們有選擇，創作時往往更能隨心所欲。似乎後者的創作更純粹，

更近乎純藝術。大家心中也明白，被商業畫廊搜羅的作品，不一定勝於沒被收購的作品；同樣地，沒有走進藝術市場的作品，也不一定比其他作品遜色。當創作與市場

掛勾，藝術是否失去了藝術的本質？市場干預及藝術投資對藝術創作是有利，還是扼殺了藝術發展的空間？

在現今講求即食、快捷、出位的小社會 * 我們對本地能培訓出什麼樣的藝術工作者、對藝術教育在社會的功能，以至藝術對人生真善美的追求，還能有什麼期望？

《觀塘藝術工作解構》，觀塘工業區藝術家工作室開放日，香港，2006 年。 0 7 4

LEAP - Local East-Kowloon Art in Progress, studio open day of Kwun Tong industrial area, Hong Kong, 2006

百花齊放當政府大力鼓吹文化藝術之際，硬件固然重要，但人力資源的培育才是根本。本地愈來愈多藝術課程的湧現，大大給予愛好藝術的人士追求及學習的機會，打破了以往幾十年來本地藝壇由香港中文大學獨領風騷的神話。藝術畢業生的人數大大增加，我看見的不是競爭與危機，而是活力與機遇。如何創造具香港特色的藝術，如

何令本地藝術家能持續發展，眼光放遠一點，究竟誰是藝術家、誰是主流，實在是微不足道。畢竟各院校的優勢與重點不同、文化與背景各異，各人若能忠於自己，

鍥而不捨，自然百花齊放。

?蔡顆思

alicebchoi@yahoo.com

蔡穎思肆業於香港中文大學，主修社會工作。畢業後從事行政工作，現為香港藝術學院及皇家 ?爾本理工大學藝術學士

純藝術

繪畫）學生。

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Studying art has been my childhood dream. It has been a decade sinceIgraduated from the Chinese University of Hong Kong, andI have always longed to fulfill my dream back in my alma mater. However, to realize one s dream and to make a living at the same time, the Hong Kong Art School is my only choice in the local ?

context. Before school commenced,Ihad inquired about the public

praise of the school but in vain, as opinions were widely divided and no conclusion could be reached. Eventually, I entered the

Hong Kong Art School with uncertainty and skepticism. Now that Iam half way through, what insights haveIgot so far?

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The HongKong Art School The student base of the Hong Kong Art School comes from all walks of life, differing in nationality, age, education and career. Given students' diversified background, each has distinctive character in one's artworks, ranging from concepts, materials, contents to methodologies. As the degree programme is run in collaboration with the Royal Melbourne Institute of Technology University (RMIT University), students have opportunities to learn from both local and overseas academics. With regard to the curriculum, students are required to study art history and cultural theories in addition to major studio practices (ceramics/painting/photography) and studio electives. Furthermore, a variety of extra-curricular activities such as talks, cultural tours, publications, exhibitions, exchange with art students from sister institutions, and visiting local, mainland and overseas exhibitions alike have made the learning process contextualized and down-to-earth, freeing the learning process from the conventions of classroom teaching

Comparing with other local tertiary institutions, the Hong Kong Art School lacks government subvention and the related resources and learning support facilities, for instance a substantive library collection, a variety of elective courses in different disciplines (e.g. General Education), and full-time student life etc. In general, the training ?t the Hong Kong Art School is a more specific professional art training, while that of other tertiary institutions are liberal arts or humanities training. Unlike full-time students at other local tertiary institutions, students of the Hong Kong Art School not only need to pay higher tuition fees, but also need initiatives and extra efforts if they want to expand their academic breadth and depth. Nevertheless, lecturers and students of the Hong Kong Art School have always strived for their best in the midst of limitations.

A Paradigm Shift In the beginning of my studies, the School's pedagogy, course content, and the order of studying art history were all quite baffling, which some fellow students found hard to adapt. It was not uncommon to find hot debates inside and outside classrooms, each stuck to one's own views with principles and reasons. Iwas one of those who debated strongly. But whenIhumbled myself and put myself into the lecturers' shoes,Ibegan to

understand their rationale and good intention. Even thoughI still have my own views in art education, and both the School and the programme have rooms for improvements, I am still grateful for what the School has

provided. If I have a say in the curriculum development of the Hong Kong Art School, above allI will propose to make "Introduction to Art" as the first art history course. Even thoughIhad previous experience in studying art history and writing academic papers, I still underwent a period of adjustment at the beginning after a long period of working life. In the local education context where art history is seldom taught in primary and secondary schools, asking local students without prior knowledge in art history and research to get used to art history examinations and academic papers in their second language, difficulty in the learning process is inevitable. The Hong Kong Art School chooses modem and contemporary art as the starting point. In my experience, to start from students' here-and-now context enables students to fit into the contemporary art scene more at ease. But no matter studying from antiquity to modernity or vice versa, I still insist that an introductory art history course is necessary. It would be helpful to students' adjustment if the Hong Kong Art School can prepare students with basic knowledge in academic research, search for information, and writing academic papers at the beginning of the study.

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The studio courses in the Hong Kong Art School put a greater emphasis on concept development and independent learning and research rather than skills training. However, to working individuals, the major limitation is time. Unlike ceramics, photography and sculpture in which fundamental skills in handling materials and basic knowledge in equipment and related safety are necessary, painting majors are left to build up their own basic skills. However, in my observations, students majoring in painting have different levels and experience in painting. During the first year of their studies, students have to discipline their own skill development on the one hand, and to build up their concept development on the other hand. As a result, many students may have experienced different levels of confusions during the early course of their studies. I believe that students' learning process can be enlightened if lecturers can have more empathy for students' limitations and difficulties,

2006年6月於香港中文大學藝術系畢業展《一個酥》，與友校學生交流。

Exchange with students of sister institutions at the graduation exhibition Pastry of the Department of Fine Arts, the Chinese University of Hong Kong in June 2006.

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provide appropriate guidance according to students' needs, to share their own experience and show more acceptance and encouragement. to

I was once confused in my series of work around the area of love versus sin in Christian belief. During that period, I was reading a lot of books and also thinking about issues of human existence and meaning of life, but feeling useless and being stuck at a bottle-neck in my art creation process. At individual tutorial session, my lecturer who understood my confusion and insistence on my own skills, looked at my pile of research and artwork, and said to me, "Too persistent in drilling one's skills and constantly blaming your inadequacy has made art a punishment to you, just as the subject matter 'sin' which you are working on. Remember why you study art? It is because you love art. There should be no fear in love. Try to relax to enjoy in art. Text and visual image are both a part of you, feel at ease and go on with you journey." All in a sudden, I was enlightened by his words. His encouragement is still vivid in my mind thatIcan hardly forget for the rest of my life.

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The Hong Kong Art School has a high expectation on students' artworks; however, students' learning process and professional attitude in art-making are treated with equal importance. Assessment is comprehensive and student-oriented, as the results are not based on visual effect and craftsmanship of artworks alone, but to explore the various layers of meanings of students' artworks. Lecturers are no longer masters but mentors who facilitate and inspire students in their creative process. Lecturers guide students' learning in accordance with students' aptitudes, and encourage them to start from whom and where they are. Students are able to develop their potentials and establish their own visual language and style in the learning process, and their potentials are optimized in an environment without convention and restriction. This is demonstrated in our graduation shows in which you can hardly find a trace of any lecturer's influence on graduates' artworks. Being bound by full-time jobs, students of the Hong Kong Art School have limited time and energy, and naturally they have less time for private studio practice. They can only try their best within their own limitations. This also explains why the graduation shows of the Hong Kong Art School are held three to six months later than those of other local tertiary institutions. The struggle of persisting in one's dreams and striking a balance between ideal and reality is beyond words can describe. Only those who have had

similarexperience are able to share the same feelings. It is generally understood that art education is not easy to manage. How to strike a balance between lightness and heaviness, lenience and stringency, giving and taking is definitely an "art". The lecturers1 sincerity and passion for art education is beyond doubt. By mutual respect and improved communications, teaching and learning can enhance teachers and students alike. In retrospect, I have experienced the art-making process and have acquired basic research methods in art. Iknow how to continue in my own way. In the learning process, I have developed a broader vision of art, a more open mind of the world, and a deeper understanding of life.

A Paradox of Ideal versus Reality In recent years, quite a number of young artists like getting together to establish their studios in industrial areas such as Fotan, Kwun Tong and Chai Wan, while some artists from the Hong Kong Art School have established their studios in Wan Chai, gradually forming a variety of small art communities. Among them, Fotan has the largest population, most of whom are fine arts graduates of the Chinese University of Hong Kong. Many of them are full-time artists who make their living by doing freelance or part-time jobs such as teaching, design and research. Compared to the majority of students of the Hong Kong Art School who have full-time jobs, the latter group is more heterogeneous and widely distributed; students pursue their studies for different purposes: some for developing their interests, some in search of their dreams, and some in pursuit of higher qualifications. On graduation, many of them may remain in their own jobs, and continue their art making at spare time. Compared to full-time artists, the number of this group of part-time artists is significant. However, some people may query: Does the status of being part-time artists still qualify them to be called artists?

Who is qualified to determine who is artist and who is not? To put it further, is it a must to undergo formal art training ,g to beeome an artist? Sometimes we cannot help asking: Is it necessary to participate and succeed in art contest? Is it necessary to be recognized by galleries? Is it necessary to work fulltime to be qualified as artists? To me, art very often originates from one's personal aspiration. In reality, however, personal pursuit is one thing, survival and recognition in the art community is another story. ?

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When artists have to make a living by their artworks, they inevitably have to play to the gallery and to cater to the needs of customers; however unwilling to admit, they have to compromise to a certain extent from time to time. On the contrary, when artists create without the urgency to sell their works, they have a choice to create in their own ways. The latter appears to be purer in intention and closer to what we call fine art. We all understand that artworks collected by commercial art galleries may not necessarily be superior to those which are not; likewise those artworks whichhave not entered the art market may not be inferior to the others. Is art creation beginning to lose its intrinsic quality when linked up with the market? Is market intervention and art investment favourable or detrimental to the development of art? In society where instantaneity, shortcut, and flamboyance prevail, what kind of artists can we expect to nurture? What can we expect from the social functions of art education and the ideal of pursuing the true, the good and the beautiful in the realm of art?

A Flourishing Art Scene As the Government is advocating cultural and artistic development, hardware is certainly important, but developing human resources is more fundamental. With the rise of art education programmes, the door to pursuing and learning art is open up to art lovers, breaking the monopoly of the local art scene by the Chinese University of Hong Kong over the past few decades. With the growing number of art graduates, what I visualize is not competition and crisis, but vitality and opportunitiesÿ When we consider the lcx:al art scene and the long term sustainability of artists from a macro point of view, issues like who is artist and who is the main stream is not worth mentioning. After all, each institute has its own strength and emphasis, ailture and background. When every one of us is devoted to one's aspiration and pursue with perseverance, the art scene will naturally flourish.

Choi Wing-sze alicebchoi@yahoo.com g

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Choi Wing-sze graduated from the Chinese University of Hong Kong, majoring in Social Work.Upon graduation, she has been working in the field of administration, and is a third-year student of the Bachelor of Arts (Fine Art) (Painting) Programme of the Hong Kong Art School and RMIT University.

看見

On Seeing,Another View: Sightlessness, Unseeing and the Dreamreader with Slit Eves

*張慧婷 Stephanie Cheung

看不覓

身

Dinh Q. Le, Texture of Memory, 2001

有段時間，眼睛不好，看東西要擠著眼，同學看見了，很嚴厲地說：「要看醫

生！」。眼睛，對我們太重要。眼睛好了不久，參加了一個跟看不見有關的工作坊，閉上眼，原來：單腳站，會站不穩；

雙腳站，會浮；

向前，不敢走到很遠；

摸不知有甚麼的地板，會比平時大膽。(註1)

活動後工作坊導師問大家感想。有人說不喜歡要閉上眼。我說沒所謂，不久，眼又可以開了。導師接著問：「如果再張不開呢？」我立刻意識到自己的幸運和大意。前一陣子，奧比斯推出了新廣告，小孩雙手摸著陳奕迅的瞼，標語是：「看得見比觸

摸更暖」（註2>。看來窩心的募捐策略，卻令些關心失明人士的朋友很不滿。「看得見

比觸摸更暖」，意味是視覺勝過觸覺。對可以選擇的人，哪個感官比哪個感官好一些，沒甚麼大不了。如果眼睛張不開呢？事件是廣告設計不夠謹憤，也是看得見的人，很難真正體會看不見的世界。看不見的世界，跟我們這些用眼睛生活的人距離很遠一但也最令我們感到視覺。

看不見的看得見對視覺藝術，看見看不見，是很吊詭的題目。出版了一系列藝術理論導讀的藝術史學者 Moshe Barasch ，也寫過

本有關看不見的書，題目是8//nc/rjess.•仿eW/stoÿy of a

Menfa/ /mage />? M/esfem TTjougW ( 意譯為「失明：西方思想中的心理圖像」}。談及古典時期對失明的看法，作者引用到個神話：眼睛看不見的Tieresia ，卻有洞悉天機的能力，因為他聽得懂鳥說話。(註3) 神話是古代人解釋生活現象的方法，這個遠古的故事，亦有助我們在今天了解失明。地鐵裡的失明人士能找到車門位置、辨認到在面前出現的朋友，證明對視覺的倚重，只是習慣，不是必然。

(註1) 該工作坊由本地藝團微風吹舉辦。團 M由幾位藝術工作者及他們的朋友組成（當中有部分是視?人士，主要從事舞蹈、形體及觸覺藝術，理念是讓不同能力的人，平等地接觸到多元的藝術。見團體網頁：

http://www.tinming.hk/bau.htm。

(註2) 有關廣告於 2006年8月左右推出，網上版本可見於 http://www.prophet.com.hk/orbis_india (瀏覽於 20 06 年 9月9 日，更新日不詳卜 (註3) Moshe Baraschÿ (New York; f/7e h/sfory of a menfa/ /mage />? wesfem , pp. 30-3. London: Routledge, 2001)

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應付生活，可以用視覺以外的方法。做視覺藝術呢？聽朋友說過一部有關一位失明

攝影師的電影，拍照的方法是觸摸物件位置、質感，用冷暖辨明暗。網上溜覽，發現現實生活裡也有不少有視障的藝術家。例如在美國有一位名叫 Pete Eckert 的攝

影師，後天失明後，想到失明人士對環境的敏感可以應用在攝影，便開始拿起相機，請親人朋友帶他到以前常到的地點，用其他感官及想像拍照。（註4)可能是選擇對焦快門的過程不同，拍出來的照片都有很特別的效果。網上看見作品 Ca(/7e£/ra/，拍下了共存的兩個極端：會眾動也不動地坐在暗黑的教堂裡，神父一襲

白衣，緩緩前行，快門下成了連串白影，光影動靜，對比懾人。藝術家說他感應到 wavelength) ，看這照片，也像突然看見肉眼看不的是「看不見的波段」見的時空。(註

年初藝穗會《乙城節》期間，有一個展覽，展出了數位身體有不便的藝術家的作

品。（註 6> 當中有視障藝術家陳為達的人體雕塑，鋼線繞成，或站或坐、走著躺著，身體的重心都清晰可見。節目的小冊子，指藝術家從冥想中體會到「意識」

(mindfulness)，坐立時對身體的感覺，也就是對生命的敏感。(註7> 陳為達的作品令我想起閉上眼站不穩的經驗。原來對視覺的過份依賴，令身體也少了感覺重心的能力。閉上眼也站得穩，要懂得用心眼向內瞧。

Pete Eckert 和陳為達的例子，說明了視覺以外，感應及呈現不同狀態的其他可能。看見、觸摸，感到的其實是兩種溫暖。閉上眼試探其他感官，我們會發覺視覺的不完全，同時，也更意識到，眼睛所見，是怎樣的一面。

看得見的看不見和看得見看不見的世界，讓我們反思視覺。但話說回頭，天天睜開眼，能體會到的看不見，有多真切？眼睛上的看不見，我們大概永遠也不能體會‘另一種看不見一視而不

見一卻不然。

(It4) Delfin Vigil, "Blind Photographer is a Man of Vision," San Francisco Chronicle,

February27,2006,p.24.http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2005/02/27/PKG5QB EBB01.DTL (瀏覽於 2006年10月4曰，更新曰不詳 >ÿ

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(註5> 抱歉因版權問題，未能轉載圜片，如欲?看作品，請見上述網上結連 (註6> 帶來該展覽的是專門協助身雅有不便的人士從事藝術創作的星加坡組織 Very Special Arts Singapore = 該組織是美國 Very Special Arts International 的伙伴，後者的網絡遍佈全國83個國家。見組織網頁 http://www .vsa.org.sg，內有陳為達及其他與組織有關的藝術家的資料。 (註7) 《乙城節節目小冊子》（香港：香港藝穗會，2006年）， 19頁。有關展賢於2006年1月11 曰至28日在藝穗會 Economist Gallery 舉行。

有關視而不見，藝術史中有一個很貼題的例子：Ecce Homo (或"Behold the Man!"，

即「看那人！」是描繪基督受難時被鞭打及侮辱的畫像。這個題材自文藝復興開始流行，教徒看著基督受苦，默想教義。(註8)為了令效果更加震撼，很多藝術家都會誇

張地強調基督所受的皮肉之苦。最為人知的例子是德國藝術家 Matthias Grunewald 的 /senhe/m /Ufarp/ece (約1515) ，晝中基督體無完虜，慘不忍睹。（註9> Ecce

Homo透過視覺刺激觀眾思維；某程度上，十字架也是一種 Ecce Homo。這些圖像沿用了幾百年，我們看憒了，它們漸漸變成純粹的符號。現在沒太多人，會從十字架看

見被釘死的恐怖；甚至看見皮破血流的 Ecce

Homo，我們也只辨認出一種宗教題

材，情況跟我們對血淋淋的報紙頭版再沒多大反應類似。

麻木的盲目是老生常談。再思考視覺，問題是甚麼時候，我們會定下來，仔細看看平時看過了甚麼。二十世紀英國詩人 Stevie Smith 在詩作 "Spanish School" 中提到 —幅 Theotocopoulos 所畫的基督受難圖：

Christ lifts his head to cry Once more I bleed and die Mary emaciated cries: Are men not satiated? Must the blood of my son For ever run?(註10> 節錄的大意是：基督抬頭喊 / 我再一次流血而死 / 聖母虛脫地哭泣

人是不是還

不滿足？ / 是不是一定要我兒子的血 / 永遠地流？讀到這裡，才意識到這些作品真正的殘忍。畫在基督身旁的聖母瑪利亞，是一個要幾百年一直看著兒子淌血的母親。

即時想起另一位德國藝術家 Rogier van der Weyden 筆下的 D印os/f/’on〔約1435〕

，作品的特色是十字架下，聖母的面上出現了藝術史中第一滴眼淚。歷史以此為

(註11>

例，指文藝復興復刻了古典時期的人文主義一說得直接一點、人性一點，文化演變，

其實是一種用心地細看生命的覺醒。

(註8) (註

James Hall, Hall's Dictionary of Subjects & Symbols in Art (London: John Murray, 1974, 1996)ÿ p.110. 抱歉因版權問題，未能轉載圖片，如欲?看作品，請溜賢Web Gallery of Art: http://www.wga.hu，

內有作品全■及基督傷處的放大圈。 (註10) Stevie Smith, "Spanish School" ，收錄在 Co"ecfed Poems (London: Penguin, 1975, 2002)， pp.27-8. Theotocopoulos (或Theotokopoulos)較常用的名字是日 Greco，是在十六世紀後期至十七世紀初期活躍於西班牙的希臘裔藝術家，作品以具個人風格的身體、顏色、光暗處理，表達非人間的精神性見稱如欲查看，請溜 MWeb Gallery of Art: http://www.wga.hu。 (註11> 抱歉因版權問題，未能轉載國片，如欲?看作品，請溜»Web Gallery of Art: http://www.wga.hu，內有作品全圔及聖母眼?的放大圈

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Stevie Smith 和 Rogier van der Weyden 動人的地方，在他們看到一般人看不見的心性。當代藝術中，也有一件有關看見看不見，很令人感動的作品。 Texftvre of Memory是自小僑居美國、近年遷返越南的藝術家 Dinh Q. Le對赤柬的回顧。(註12>白畫布上白線繡出了重?的輪廓，面容屬於在 Tuol Sleng 監獄中罹難的人。作品的靈感源自一群經歷過那段可怕日子後，患了「歇斯底里失明」的婦女。她們眼睛身體都無恙，但卻甚麼也再看不見。(註13) 災難過後的症後群，如白上白的圖像，存在卻不易看見，想看不見卻也永遠存在。凸字似的刺繡，讓看不見的人觸摸故人面貌。摸得多，線條變黑，隱藏了的記憶就漸漸浮現。從看不見、觸摸、重現到看得見，作品的

元素都是比喻，多層次地教人思考面對過去的各種態度。當看不見與看見，從決於人的選擇，看見看不見，是感官以外另一個層面的問題。對看得見的人，或許更藉得注視。

割開眼睛的讀夢人寫這篇文章，腦袋裡的影像一直是村上春樹《世界末日與冷酷異境》中，一個瞳孔被

刺、不能見陽光的讀夢人。在世界盡頭，他的工作是用指尖觸摸封塵的頭顱，閱讀藏起了的夢。（註14) 我們眼睛沒有被我們眼睛沒有被刺，每天在陽光底下又看到甚麼？窺探看不見的世界，或者我們可以重新想想，看見，其實是一種怎樣的感覺。

(註12) 赤柬是在1975年至1979年間統治柬甫寨的極端組織，當權期間曾直接（處決、屠殺或間接饑餓、強逼勞動）導致估計過百萬人死亡。下文提到的Tuol Sleng 監獄（當時稱為Security Prison 21 ，現為博物館），是赤柬政權下的一個重災區，以莫須有罪名被囚的囚犯在當中受盡凌辱殘害，絕大多數罹難。其一生還者 Rithy Pahn 後來導演了記錄片 S2 彳，的eK/jmer Rouge K////ngMacWne (New York: First Run Features, c.2003) ，透過訪問生還者及當時的儈子手，重組那段歷史。藝術家的參照是James E. Young 的Texture of Memo/y: Wo/ocat/sf Memorta/s and /Weam'ng (New Haven: Yale University Press, c.1993 卜作品亦以書目為名。

(註13) 該群嫌女失明的原因是心理上的災難症後群。藝術家說：「她們現在仍患有歇斯底里失明，不想跟外界有任何接觸，活在抑鬱之中。（藝術家於 2006 年 9月27曰寄於本文作者的電郵 2006年光州雙年展塌刊錄有藝術家對作品的詳細想法。 (註14) 村上春樹，《世界末日與冷酷異境》東京，新潮社，1985) 。本文作者參考的英文譯本為 Alfred Birnbaum 翻譯的 Hard-boiled Wonderland and the End of the World (London: Vintage, 2003) ，有關內容見 p.40ÿ

s S-8 8

張慧婦

stephc@graduate.hku.hk

香港大學藝術學系畢業，現於香港藝術學院任教藝術史。

Sightlessness, Unseeing (Nÿtei) and the Dreamreader with Slit Eyes A few months ago, something was wrong with my eyes and I had to squint all the time. "You must see a doctor," a student issued a serious warning. To many of us, few things are more important than a good eye.

Soon after my eyes recovered, I attended a workshop about visual impairment.fNÿte2ÿ There was an exercise which required us to move about with closed eyes. To my surprise, balancing became a problem. Even when I was standing on two legs, I felt myself rocking. And there was the fear of bumping into things. Too hesitant to walk, I simply crawled on all four. When we reopened our eyes, the instructor asked how we felt. People talked about awkwardness and insecurity. I said okay - very soon we could see again. "What if you can't?" All at once, I was sorry for my insensitivity, and glad of my luck. It was about that time I came across a new Orbis ad: next to the image of a child touching a grinning face, the catch line goes, "Seeing feels warmer than touching.'VNÿfe3) It was a heartwarming presentation, but I was told that it had upset some who cared about the blind. "Seeing feels warmer than touching" implies a primacy of sight. Seeing is great - for people enjoying all the senses. But for those who are less fortunate, the other senses are what constitute their reality and should never be undermined. Like me, the ad designer was not sensitive enough. As to trying to make up for this lack of sensitivity, I started looking into sightlessness. The discovery is: instead of being the opposite, sightlessness is actually another view of sight.

Beyond sight At first glance, sightlessness seems irrelevant to the visual arts. However, the subject has attracted notable attention in visual studies. Moshe Barasch, who has published a series on art theory, has also written a book on the subject.

(Notel) Unable to come up with a better word, I am using the adjective "unseeing" to refer to cognitive blindness - the state of not seeing for lcx>king as caused by indifference, imperceprtiveness, reluctance or fear. (Note2) The workshop was organized by Breeze Across Us, a local group formed by some artists and their friends (some are visually impaired). With specialties in dance, movement and touch art, the group is committed to bringing multiple forms of art to people with different abilities. See the group's website at

http://www.tinming.hk/bau.htm. (Note3)The advertisement was put up in summer 2006. See internet version at http://www.prophet.com.hk/orbis一india (accessed on September 9, 2006; date oflast update unknown).

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Titled Blindness: the History of a Mental Image in Western Thought, the book discusses the cultural ideas and representations of blindness across time. When the author talks about the classical idea of blindness, he cites Greek myth: Tieresia is blind, but he is a seer because he understands the birds.(Nÿfe4) The ancients explained life with mythology; presently, the classical story of Tieresia also casts light on our understanding of sightlessness. When one watches how a visually impaired person navigates through the city, or how s/he identifies his/her friends, one sees that our reliance on sight is just habitual. There is nothing definitive about its primacy.

Instead of using sight, there are other ways to deal with life. How about art? A friend once told me about a film on a blind photographer, who works out his pictures' composition, texture, light and shade with the sense of touch. I did a quick browse on the internet; indeed, there are quite many visually impaired artists. In the United States, someone called Pete Eckert picked up photography after becoming legally blind a few years ago. The story was that while he was coming to terms with his loss of sight, he realised that he had acquired a different kind of vision. Feeling that he could "see" things with a special sensitivity, he started asking his family to take him to familiar places, and shot pictures by using his other senses and imagination 抽fe5) As he framed, focused and exposed his shoots in an unusual way, the pictures look extraordinary. For example, Cathedral juxtaposes coexisting opposites. An assembly sits still in a dark church. Their stasis, sharply captured, freezes in time. In front of them, a priest is in the middle of a ritual. Asynchronous with the shutter, his moving body resembles an undefined, semitransparent phantom. The contrasts of opposites - light and dark, stillness and movement, faith and uncannmess - look stunningly otherworldly. Eckert terms what he sees as "invisible wavelengths." Looking at this picture, one also "sees" an invisible dimension.fJVotee)

(Note4) Moshe Barasch, Blindness: the History of a Mental Image in Western Tftought (New York; London:

Routledge, 2001), pp.30-3.

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(Note5) Delfin Vigil, "Blind Photographer is a Man of Vision," San Francisco Chronicle, February 27, 2006, p.24. See http:// www.sfgate.com/cgi-bin/article.cgi?f=/c/a/ 2005/02/ 27/ PKG5QBEBB01.DTL October 4, 2006; date of last update unknown). (Note6) A reproduction of the photograph can be accessed online at the aforementioned link.

A few physically challenged artists were presented in this year's City Festival.(Nÿte7)Among the exhibits, there were some figure sculptures by Victor Tan. The works are moulded with stainless-steel wire; some still, some in motion, each sports a very clear sense of balance. In the programme guide, the visually impaired artist accounts for his creative process: through mediation, he learnt mindfulness. Awareness of one's body, how one keeps still and how one moves, is a manifestation of a heightened consciousness. (Nÿfe8ÿTan's work reminds me of the earlier workshop. Relying too much on my eyes, I was unknowingly disconnected from my own body. To keep balance even with eyes closed, one has to look inwards.

The examples of Eckert and Tan demonstrate that, other than using sight, there are other possible ways to feel and represent the world. One sees a kind of warmth, and feels another through touch. When we close our eyes and explore around, we see that a lot is actually invisible. At the same, seeing the difference m these non-visual impressions, we also get a better idea about what we have always seen.

(Un) seeing

The world beyond sight exposes the blind spots of eyesight and silhouettes its focus. A glimpse into that world offers new insights about vision, but after all, with our eyes wide open, physical sightlessness is always beyond us. No matter how inspiring, our comprehension of it is inevitably hypothetical. Yet another kind of sightlessness - unseeing - is a common experience.

(Nÿte7) The exhibition was presented by Very Special Arts Singapore, an organisation dedicated to making art accessible to people with disabilities. The organisation is linked to the US-based Very Special Arts International, whose network covers more than 83 countries. See the organisation's website at http://www.vsa.org.sg, which contains information about Tan and other

affiliated artists.

(Note8)City Festival Programme guide (Hong Kong: Hong Kong Fringe Club, 2006), p.19. The exhibition was held in the Fringe Club's Economist Gallery, from January 11 to 28, 2006.

一

--r

二

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There is an exemplary case of unseeing in art history: "Ecce Homo," or "Behold the Man!", refers to the iconographic representation of the mocking of Christ during the Passion. Since the Renaissance, the theme has appeared frequently in repentant imagery.(Nÿte9)To make the scene more impressive, many artists dramatized Christ's corporeal suffering. A most graphic example is Matthias Griinewald's Isenheim Altarpiece(c.1515),which shows a horrendously savaged Christ. (Nÿfeio;Comparably, the Crucifix, denoting Christ's painful sacrifice, can also be seen as a form of Ecce Homo. For hundreds of years, the Ecce Homo theme serves as a visual cue for strong religious emotions. However, as people get used to such images, they gradually turn into unfeeling signs. Nowadays, crosses are no longer haunted by the horror of crucifixion; Ecce Homo, bloody as ever, is more likely contemplated as a historical genre.

It is commonplace to say that we tend to lose our sensitivity when we get used to things. But that does not happen to everybody. Reviewing an Ecce Homo by Theotocopoulos, the 20th-century British poet Stevie Smith writes:

Christ lifts his head to cry Once more I bleed and die Mary emaciated cries: Are men not satiated? Must the blood of my son For ever run?(Nofeii)

Seeing what has been rniseen for ages, Smith points out the cruelty of such images: they force a mother to fix her eyes on her eternally bleeding son. The poets sympathy brings to mind Rogier van der WeyderVs Deposition (c.l453).(Nÿ(rf2)

(Note9) James Hall, Hall's Dictionary of Subjects & Symbols in Art (London: John Murray, 1974, 1996), p.110. (NotelO) Reproductions of the painting, with details of Christ's battered body, can be accessed online at Web Gallery of Art: http://www.wga.hu.

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(Notell) Stevie Smith, "Spanish School", from Collected Poems (London: Penguin, 1975, 2002), pp.27-8. Theotocopoulos (or Theotokopoulos), nicknamed El Greco, was a Greek artist active in Spain during the late 16th to early 17th century. He is best known for his unique treatments of figures,

colour and light, which are interpreted by many *as an individual approach to spirituality. Reproductions of his work can be accessed online at Web Gallery of Art: http://www.wga.hu. (Notel2) Reproductions of the painting, with a close-up of the Virgin's tear, can be accessed online at Web Gallery of Art: http://www.wga.hu.

Probably for the time in art history, the painting features a teardrop on the Virgin's face. This has been seen by many as an illustration of the Renaissance's revival of humanism. Putting the cultural phenomenon in more human terms, the sighting of Mary's tear owes to a caring eye. Smith and van der Weyden's works are remarkable because the artists see humanity. In contemporary time, the work of Vietnamese-American artist Dinh Q. Le is equally touching. Texture of Memory (2001) revisits the nightmarish Khmer Rouge era.(Nÿfei3jFaces of genocide victims are outlined on a white-on-white embroidery. The "invisible" presentation was inspired by a group of women survivors who, having witnessed the calamity, have become hysterically blind. Physically, the women's eyes are perfectly normal, but they do not see anymore.fNÿfei4)The indiscernible image visualizes the pathos of this post-traumatic condition - memory, too unbearable, is repressed, subdued, nonetheless present. As the work conveys a conscientious understanding of such oblivion, it also advocates courage: the stitches are like braille; viewers are invited to trace the unseen contours with touch. Repeated touching darkens the lines, and the suppressed eventually reemerges. Through unseeing, touching and finally seeing, the viewers find themselves in a tactile confrontation with history. Unlike physical sightlessness, unseeing is about choice. And this choice is about how much we are willing and ready to see as humans.

(Notel3) The Khmer Rouge was an extremist organisation that ruled Cambodia from 1975 to 1979. It responsible for the killing of millions through execution, starvation, forced labour, etc. The genocide victims mentioned in this paragraph were murdered in the Tuol Sleng Prison, formerly known as Security Prison 21, now open to public as the Tuol Sleng Genocide Museum. Under the Khmer Rouge regime, the prison was an inferno where inmates were tortured to make them confess whatever charged crimes. Among the very few survivors, Rithy Pahn later recounted the story iin the documentary S21, the Khmer Rouge Killing Machine (New York: First Run Features, c.2003). Le's reference is James E. Young, The Texture of Memory: Holocaust Memorials and Meaning (New Haven: Yale University Press, c.1993), after which the present work is named. (Notel4) The women's blindness is caused by a post-traumatic stress disorder. In an email to the author, the artist suggests that the women are "still suffering from hysterical blindness and want nothing to do with outside people. They are in a depression state." (September 27, 2006) A detailed artist's statement is printed in the catalogue of the Gwangju Biennale 2006.

一

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The dreamreader with slit eyes When I am writing this article, I keep seeing in my mind the image of a very evocative character. In Haruki Murakami's Hard-boiled Wonderland and the End of the World, a man with slit eyes works as a dreamreader. He cannot see under sunlight, but by running his figures over old skulls, he can read dreams.fNÿfe25ÿThe character is almost an archetype of vision: seeing is perhaps not so much about the eye as it is about perceptiveness. The dreamreader's slit eyes take us to the other side of sight. After a reflective moment of sightlessness, somehow, we see again with an even better eye.

(Notel5) Haruki Murakami, Hard-boiled Wonderland and the End of the World (translated by Alfred Bimbaum;

London: Vintage, 2003), p.40.

2ÿ

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Stephanie Cheung stephc@graduate.hku.hk Stephanie Cheung graduated from The University of Hong Kong. She teaches art history at Hong Kong Art School.

"Ecology" of isual Art in 5

A Response to Carol Leeÿs Project: A good deed makes a start "Too Art": A Tailor-made

iiTi

香港視藝生態回應李美娟之

〈一切從一件好事開始一度身訂造的實驗計劃

「二樓原作 J

*梁展峰 Jeff Leung

藝術家李美娟在《白文本》發表文章 (註1)述說「二樓原作」（註2>的發展經過，筆者雖對畫廊工作只知一二，亦能體會當中李氏表達對當下推動本地（當

代）藝術收藏的困難以及對本地視藝業內不良現象的意見。但筆者嘗試提出不同的理解，既以回應作分享，亦希望引起交流和討論。

藝術家的藝術學院

李氏認為雖然本地藝術院校和課程逐漸增多，但市場缺乏承接力仍導致人口流失(註

3>。如果參考香港演藝學院畢業生的就業現況和出路，當中的電影和戲劇系的同學不一定能回到演藝行業中，有些則選擇到不同中小學教授表演工作坊課程，這點說明如果我們只是設想藝術課程或學院的增加有利本地（純）藝術發展，我們將再次

為「藝術畢業生不能以藝術謀生」的事實感失望。筆者愚見是香港大專藝術教育不只是培育「藝術家」或「藝術史學家」等專業人材，反而是培育「高階藝術觀眾」，

保持觀眾人口之餘，他們亦是成為業內各職位（特別是藝術行政和藝術買賣）的潛在人口。現在各院校增加的藝術課程其實是對應「創意工業」和「教育改革」的口

號下出現的更多教育商品和選擇，多少是為主流教育模式（路徑

另闢一途。正如

很多台灣藝術家都以教學作為支持其創作事業的終身工作，香港以「藝術創作為本」的藝術課程雖然未必能全面配合西九龍文娛藝術區（下稱「西九

的發展需要（如

藝術政策、藝術行政、統籌等崗位上都需要懂藝術及管理），但確實為現存在

港藝術家提供就業機會。積極而言，藝術課程增加，藝術學生增加，亦為藝術觀眾

(註1) 李美娟：〈一切從一件好事開始一度身訂造的實驗計劃「二樓原作」〉，《白文本》，第

2期，香港：白文本，2006年，頁100-105。

(註2> 二樓原作位於香港灣仔港灣道二號香港藝術中心二樓，是由數位本地藝術家組成的畫廊。 (註3> 同註1，頁100。

0 V

的人口提供保障。至於推動本地藝術行業的發展和前景，則有各方面的業內專材的合作，透過不同角度的視野和「創造力」，才能保持業內的活力。

藝術家的「專業」每當討論「專業」時，如何把藝術創作化為「職業」是常見的課題。李氏以畫廊經

驗出發的理解 (註4)，似乎隱藏了以寶畫自力更生的一種「職業化 j。香港藝術家以寶畫維生的當然不多，但他們很多都是從事美術教育，如兼職或全職美術老師、課

外美術活動導師或在不同公眾文藝活動上擔任工作人員或導師。筆者認為「專業 J

一

要從兩個層面共同構成：一是個人的「專業化」；二是藝術社群的「行業化」

即確立能持之以恆的運作體制。這點同時暗示我們要在美學意義以外確立「藝術 J 的社會價值，例如以「藝術/ 文化活化社區」的藝術活動的? 馬會創意藝術中心；以「藝術介入社會」的國際藝術家交流工作坊及展贄《現場：灣仔》（註 5> 或思網絡發

動的

? 820

拯救天星藝術行動」及藝術家們期後的反清拆鐘樓行動等 (註6>。另外在

拍資市場上的「中國當代藝術」熱潮和本港巨富在國際拍資市場上的一?千金 (註7> 都令藝術買資的新聞多刊於港聞和經濟版 (註8)，那怕這些只是建基於「西九」和「創意工業」的因素，或是以藝術推廣企業和品牌形象，亦算是展現了藝術中可量

化的經濟價值。去年

年）本地藝術家蘇恩?獲香港傑出青年獎，亦表示

社會（主流商界人士）確定藝術家在社會的價值。

(註4> 同註1，頁100 (註5)《現場：灣仔》是在 2005年 4月於灣仔區內舉行國際藝術家交流工作坊暨展賢 •詳見網頁： ?

http://www.hkair.org/re_wc/index.html 及「三十會」聃同多名藝術工作者及單位 •於天星碼頭及 (註6) 2006年8月20日，「思網絡」、愛丁堡廣?一播，進行「820 拯救天星藝術行動」，自發進行表演及創作，期望向市民、政府官貝及天星小輪公司表達「保留碼頭及鐘樓」的訊息。藝術家曾德平其後發文章 •亦繼績與其他藝術工作者在不同日子內於天星瑪頭上進行藝術表演表達訊息。報章及雜誌均有報導。 (註7) 香港富商劉鑾雄於2005年 5月4日(香港時間?紐約佳士得拍賈行 •以1,176萬美元投得 Paul Cezanne的風景畫；2006 年 6月26日在倫敦蘇富比的拍資會上，又以 292 萬英鎊投得 David Hockney畫作《水花》 Splash)。 (註8> 劉蠻雄先生於 2006 年 11月15日（香港時間）以1,737.6 萬美元，於美國紐約的佳士得「戰後及當代藝術」拍寶會上投得Andy Warhol的《毛澤東》作中創歷來最高，破1998年畫作《瑪麗蓮夢露》導，信報更以此作社論內容。

Portrait) 絲印肖像畫。是次成交價是安迪華荷的遺 Monroe) 1,732.75萬美元的紀錄。多份報章報

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筆者認為當代藝術核心既不在於藝術媒介和形式的分類，而且在不斷發展和轉變

Rirkrit

中，於是個人創作上對「專業化」的界定可能變得非常浮動。在藝術家

Tiravanija 和 Christo and Jeanne-Claude的創作中，尋找資金、遊說工作和烹飪都是必要的技能，那麼學懂找尋資金贊助實是當代藝術家的必要技能嗎？

藝術家的個人「專業技術」會隨時代有不同的理解和發展，但外界對「專業」的

理解和定義，則要依賴業內制度的透明和教育層面上的灌輸並行推動。視藝界內的組織發展往往受制於藝術發展局的經費左右，藝發局強調團體應該在藝發局的「資助」外尋求更多的經濟支持，於是藝術家酬勞 / 工作費 / 作品相片版權費都

因「資助」少又找不到商業贊助下而一一欠缺，之後又成為商界要求藝術家提供

「免費午餐」的理據。讓公眾對藝術家的創作的印象從「工餘興趣」轉向「專業

知識」還是要漫長的推廣和教育。

藝術家的策展

近年本地確實出現了不同的展賢空間或形式，但我不同意李所指的「不免局限於策

展人的口味」。原因之一是近廿年在本地出現過又能造成考參和模仿對象或延續發展的展賢形式都是藝術家主導為多，如《工作室》（始於198&96年 >(註9>、Para/Site藝

術空間（始於1996 年）、《伙炭》（始於 2000 年

(註9)

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、《多大事件》

註1?)

詳見：張薇、黎曼姿合寫：「香港另類藝術空間發展的兩個階段」 • 間國際會議-展 M 計割》（香港：1A 空間，2001 年，頁134 卜

年

註川

獨立藝術空

(註10) 自 2000 年開始，不少藝術家紛紛在火炭工廠匾內大廑設立工作室。首兩次公眾開放活動《老火新炭》和《伙炭》在沒有任何資助下先後伙拍 5 個及 14 個單位同時開放 • 連嫌兩個週末開放予公眾參觀，期間吸引很多市民參觀及報章報導。詳見： http://fotanian.com/ (註11)《多大事件》於 2005年1月22 曰 •醬油廠化身變成多個流動的表演間、展《館、小舞台、音樂廳，向觀眾呈現沒有鼸比度參與的本地藝術風格：豉油化身水鑒成就美術館，醬油儲藏鼓用作音樂廳管風琴，包裝輪送? 好比裝置藝術，大 ?收成農民在 ?昏田野起舞。詳見： http://www.mackiestudy.com/dowda/main_chi.ht

r '

;j|

SiiSj

I 】

Wanchaf’ A “Re: Konstantin Bessmertny “Re: Wanchaf

Tse Ming-chong, Mirage, 2005 Photo courtesy: Asia Art Archive 《現場 •灣仔》謝明莊，《浮光掠影》，2005年相片提供：亞洲藝術文獻庫

(Macau), The Republic of Hope, 2005 Photo courtesy: Asia Art Archive 《現場 •灣仔》 Konstantin Bessmertny (Macau) ，《希望共和國》，2005年相片提供：亞洲藝術文獻庫

雲

和《現場：灣仔》

年

註12)同時依據《香港視覺藝術年鑑》中近三年的資料顯

示，每年只有近 9%展賢是由策展人籌劃（註13)，當中亦只側||繪盡展。宏觀而言，策展文化是否屬整體視藝界的主流現象，還是我們對西方藝術主流文化的迷思？應

當反思。另一方面，本地視藝界以藝術家人口較多而構成的「藝術家身兼策展人」的常見現象，可能反映沒有多少的人長期關注自身以外的藝術家的發展，也構成藝術家要自己負擔展賢的籌辦工作。

「

延續「不免局限於策展人的口味」的思考，「策展式畫廊」展示策展人「口味」之餘，畫廊的展出則比藝術空間的展覽能為藝術家提供較大經濟的支持，當然這可能出於對畫廊銷情的樂觀看法。筆者想強調畫廊籌辦展賢主趨某藝術風格，既是由來以久，而且是導致當代藝術中的策展文化之一。在西方現代藝術的發展中，藝評人

以文章對新興藝術的討論和支持當然為這些藝術提供日後的文字記載和論述基礎，不過各個新藝術流派得以呈現，都有賴畫廊業者對新藝術的接受和推介，其一例子是畫廊老闆 Seth Siegelaub(註16)，他既是於六

+、七十年代成功將觀念藝術的

作品和藝術家推介至國際，其展覽形式更是往後策展文化的一個參考。

當然以藝術家角度出發，接近權力建制時，首個接觸的就是站在前線的「策展人」。

@是對展覽機制和藝術體制中霸權的反抗。邀請獨立策展人

獨立策展人的出現，本

至今亦可演變成讓機構降低政治和美學上風險的方法。對於策展人的「強勢」，作為「可見」的權力卻遮蓋了背後的權力結構，如展場營運者、基金會、收藏家等不同人物所構成的「口味」和權力系統。所以我們不可忽略各展 K 場地的體制本身都是一種權力一它們開放接受各策展人的展賢議案，同時選擇策展人的議案。當然多

由藝術家出任藝術空間和團體董事會的香港情況下，它們的權力和「口味」的宰制

自然不易被察覺，故此我們不可忽視制度本身與藝術家策展文化的相向影響。

藝術家的畫廊

其實香港從來不乏晝廊，它們多位於中區半山和商業地段，而且開業結業年年如是，不足為奇。筆者同意李氏指商業畫廊近年不斷增多之餘，而且已造成不同以往的營

運文化。筆者的粗略觀察認為 2001 年左右中環區內不乏本地外籍人士開設新畫廊，

(註16> Seth Siegelaub 於六、七年代以展及出版形式積極推廣觀念藝術；畫廊老閻 Michael Ashers應當時歐洲觀念藝術家中流行的Situational aesthetics (情境美學），將自己畫廊 Claire Copley變成空空如也，只留下辦公室展示給觀眾，視為創作；畫廊老闆不滿當時的過份商品化的藝術市場，在 1968年於德國杜塞爾多夫劃 Prospect 68, 遨請不同畫廊展示各類前衛及非傳統雕塑繪畫等作品，並邀請藝評家舉行研討會。詳見：唐曉蘭：《觀念藝術的淵源與發展》，台北：逮流出版社，2000年或 Gregory Battcock edt. ’Idea Art: A Critical Anth< Dutton, 1973.

I 0

如早年的 Galerie Martini (1997-2004年）、 5 O.P.T Studio / Gallery(註17>和近年的

Art Statements(註18)( 始於 2004 年）等，而且還有些非純粹售賣畫作和藝術品的畫廊如 Meli Melo Limited (註19)( 始於 2001 年

、State

of the Arts(註 2?)( 始於 2003年

。

到了這兩年(2004年尾到 06 年），一些新畫廊都是由本地華人於中區以外開設，而且

不會純綷銷售畫作或高價藝術品，如位於灣仔的 UMA G (註21) 就曾舉辦關注灣仔社區的展賢；跑馬地的 W9 Gallery 則是配合老闆的室內設計業務而開拓；以及在本地、東南亞和國內設有多間分店的 Osage Gallery

(註 22)( 始於 2004 年)

亦在成立了

Osage Art Foundation 和 Osage Art Space。前述由外藉人士開設的畫廊，代理的藝術家不限於本地藝術家，而本地人開設的畫廊則會代理較多的土生香港藝術家。這些畫廊雖未直接影響本地視藝界的發展，但顯然是繼「藝術空間」現象後，對應

「創意工業」和「西九效應」的新現象。

李氏文章提及「香港商業畫廊所扮演的中介角色未能完全推動本地藝術_

，

J (註23)

筆者則問我們應否假設在港設立的畫廊得要擔起「推介本地藝術」的責任？藝術家

當然想畫廊積極推介他的作品，最後藝術家受賞識，作品賣得滿堂紅，自然是雙贏的結果。不過畫廊作為文化產業之一，應對「香港藝術」在商言商的作商業考量原則還是以推動「香港藝術」為社會責任？是理念上的二者可兼得還是在實踐上事有緩急輕重之分沒筆者認為我們一般沒有把藝術消費者的個人因素納入考慮範圍，「市場主導」和「市場因素」於是沒有被討論

筆者對「市場主導」的基本理解就是

你叫賣時，消費者不一定買。就算消費者買下藝術品，他們不一定對某藝術品有同

(註17) (註18) (註19) (註20) (註21) (註22>

詳見 www.5opt.com.hk 詳見 www.artstatements.com 詳見 http://artjamming.com/ 詳見 http://www.sotagallery.com.hk 詳見 www.uma-g.com 詳見 http://www.osagegallery.com (註23) 同註1，頁102

樣的理解和購買動機。反而藝術家繞過畫廊代理自行向買家出售作品則是自由市場下「市場主導」的負面影響。很多買家 (特別是公司和商場)都會傾向直接接冶藝術家，以減低買畫成本，但缺乏畫廊代理等第三者來調節價格，對耋家的未來市場價

值未必有保障，同時亦不利整個藝術社群的「行業化」。

對筆者而言，「二樓原作」是輕而且重的畫廊。雖然李氏認為「從商業角度而言，

『二樓原作』尚未算成功」（註24)，但筆者則認為它的成功在於不夠商業，不成功在

於太藝術。它的輕在於如「童玩童心」的「市場主導」的展覽較少，但畫廊之洋名

一

Artÿ表達對堅持藝術和創作的沈重。「二樓原作」也許應被理解成由藝

術家主理的畫廊

Gallery)。讓它保留了過去藝術空間給予藝術創作上的

彈性，同時以畫廊形式為藝術家找到官方以外的資源，是對「藝術空間」文化的推展。雖然那些微薄的收入不能達致「自力更新」之境，但至少給予公眾「藝術家不

是只懂領『藝術公援』」（註25)。

(註24) 同註1，頁105。 ; 援局」及「藝術豬肉 {註25) 2002年2月底，何志平於明報撰文「藝發局不養懶人」，要去除藝發局是「藝術綜局」的印象，並引起藝術界人士回響。其後圈內人有時會把藝發局的資助戲謔為?「藝術綜援」。

梁展峰 read.jeff@gmail.com

梁展峰於2001 年畢業於香港中文大學藝術系，從事藝術展賢的籌劃和行政工作，曾參與的展》年）、《威尼斯國際藝術雙年展》中國香港館籌劃包括《韓國光州雙年展》 Para/Site 軒畫廊。現為自由策展人，視藝文章散見於文匯及漢雅 (2003年）、香港藝術空間報及香港獨立媒體網 www.inmediahk.net )。

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Translator: Pauline Ng

The article, written by artist Carol Lee and published in White Text(Nÿtei;, describes the establishment and development of the gallery "Too Aiit"(Nÿte2). Though my experience of gallery administration is limited, I understand her remarks on the following two issues: the difficulty in promoting local collection of contemporary art and the adverse conditions faced by the visual art industry. In response to her comments, I hope to offer various conceptions of these issues as well as to initiate discussion.

Art Academy For Artists Lee mentioned that although there has been an increase in number of local art schools and programs, the lack of market support contributed to a decrease in population of artists(Nÿfe3). For example, students graduated from Film and Drama Department of the Hong Kong Academy for Performing Arts may be unable to further their career in their disciplines. Some may choose to conduct drama workshops in primary and secondary schools.

This situation shows that if we consider the increase in question as a boost to the development of the local art scene, we will be once again disappointed by the fact that art graduates cannot live on art. In my view, apart from training professional "artists" and "art historians", post secondary art education should cultivate quality audience of art as well. Keeping the population of art audience signifies the availability of more potential players in the arts industry (especially art administrators and art dealers). Meanwhile such an increase in number of art institutions is a

ot),

(Notel) fA good deed makes a start "Too Art": A Tailor-made Experimental Project', a project Carol Lee and published in the second issue of White Text (Hong Kong: White Text, 20

pp.100-105. 0

(Note2) "Too Art",located at Hong Kong Arts Centre, 2/F, 2 Harbour Road, Wanchai, Hong Kong,is the firstlocal art gallery organized by local artists. (Note3) Same as note 1, p.100

response to slogans of "Creative Industries" and "Education Reform". It brings about additional commercial products and choices on education and provides alternative forms of study. For instance, a lot of artists in Taiwan support their creativity work by being teachers. The West Kowloon Arts Project requires trained professionals in art policy establishment, art administration as well as art management. Although these arts programs may not match up with the needs of the Project, they do provide artists with additional job opportunities. Optimistically speaking, the increasing number of art programs and art students maintains a steady population of art audience. However, future development of local art industry counts on the co-operation, vision and creativity of existing art professionals. Art "Professionals" Whenever "professional” is discussed, the subject of how to transform artistic work into a profession is a familiar one. Based on her experience of running a gallery, Lee’s comments seem to imply a "profession" that makes a living by selling artwork_fe4). The number of local artists who live on selling ones' artwork is negligible. Most of them are art educators such as part time or full time teachers, art instructors or assistants of school activities and cultural programs. In my view, the term "professional" comprises of two levels: an individual's "professionalism" and an art community's "industrialism". This implies that a long-term operation structure is required. Apart from the aesthetic meaning of art, we have to set up its social value at the same time. For example: "Art / Culture Vitalizing Community", organized by the Jockey Club Creative Arts Centre Pro)ect}(Nÿte5)"re: wanchai'',an artists exchange workshop and

Hÿ

(Note4) Same as note 1, p.100 (Note5) "re: wanchai", a workshop and exhibition organized in Wanchai, April 2005; details: http://www.hkair.org/re_wc/index.html

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“Dowda Happening”

二

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Happening Group, Victoria Harbour's Scroll, 2005 Photo courtesy: Asia Art Archive 《多大事件》發生社，《維港下海濤》，2005年相片提供：亞洲藝術文獻庫

exhibition; "Expression on saving Star Ferry Pier 820", initiated by SEE Network; and the protest on saving the Clock Tower at Star Ferry Pier, organized by local artistsfNÿfe6). In recent auction market, contemporary Chinese art has upsurged. The story of a local entrepreneur splashing out on artwork(Nÿfe7ÿin international auctions was covered by local media and economic sections of newspapers(Nÿfe8) . This is an outcome of "West Kowloon Project" and "Creative Industries", or a promotion of an art enterprise or a brand name. Nevertheless this quantifies the economic value of art. The social value of an artist is also recognized by society (mainstream entrepreneurs) with the incident that local artist So Yan Kei was awarded the Ten Outstanding Young Persons Selection last year.

Whichever kind of art media or art forms cannot define the significance of contemporary art as.they are constantly evolving. "Professionalism" of one's creativity is therefore always in a state of transformation. For artists like Rirkrit Tiravanija, Christo and Jeanne-Claude, the skills of searching for capital, persuasion, and cooking are essential during the process of creation. Is it crucial for contemporary artists to be capable of acquiring

sponsorship? The understanding and development of an artist's "professional technique" would change over time. However, the definition of "professional" relies on the transparency of art policy and the education process. At present, the growth of visual art organizations is limited by

(Note6) In August 20, 2006, "Expression on Saving Star Ferry Pier 820", a creative performing activity conducted by SEE Network, Habitus, 30SGroup and various artists and art groups at Star Ferry Pier and Edinburgh Square to express their wish of saving Star Ferry Pier from demolishing to government officials and the public. In addition the message of retaining the Pier and the clock tower was conveyed. An article by artist, Kith Tsang, was published later on. There were performances by other art practitioners expressing the same message at different occasions. All events were covered by media. (Note7) In May 4, 2005 at Christie's auction,local entrepreneur, Lau Luen-hung, purchased Paul Cezanne's landscape painting in the amount of US$1,176,000. In June 26, 2006 at Sotheby ?s auction, he acquired David Hockney's painting The Splash in the amount of £2,920,000. In November 15, 2006 at Sotheby's "Post War and Contemporary Art" auction, Lau Luen-hung purchased Andy Warhol's Mao Portrait in the amount of US$1,737,060,000. It broke the sale record of Warhol's Man7yn Mcmroe in 1995 (US$1,732,750,000). The news was covered by media and editor's section in Hong Kong Economic Journal.

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the amount of sponsorships offered by the Hong Kong Arts Development Council. The Council emphasizes that art groups should look for sponsorship opportunities from other sources. Due to the lack of financial assistance, there are no artist fees, salary or photo copyright fees. This in turn contributes to the ground for the request of "free lunch" by entrepreneurs. To alter the image of an artist's creativity from "leisure interest" to "professional knowledge" will take a lot of effort in promotion and education.

Artists As Curators More exhibition space and forms have appeared in recent years. However, I disagree with Lee's comment that "this was limited by curators' perception". One of the reasons is that various forms of exhibitions, which were effectively replicated and broadened, were originated by artists themselves. For example: ''Workshop", (1983-96)(Nÿte9), ''Para/Site Art Space'' (commenced at 1996), "Fotanian" (commenced at 2000)fNÿteiÿ) , "Dowda Happening" (2005)fjvÿteii;and "re; watichai" (2005)(Nÿtei2). In addition, the recent three issues of the Hong Kong Viswflf Arte Yearboo/c recorded only 9%(Nÿtei3) of exhibitions which were organized by curators and most of them were visual art exhibitions. Speaking from a macro perspective,

(Nofrf) Details: 張薇、黎曼姿合寫香港另類藝術空間發展的兩個階段 > written by and published in, "In-between: 獨立藝術空間國際會議一展覽計劃》（香港 1A空間，2001 年) P.134 (NotelO) Since 2000, studios were set up by a number of artists in industrial buildings at Fotan. The first two open house events, "fofflnGflf/ierin客 2003" and "fbten2004", held without any sponsorship. The first one involved 5 studios and the other 14 studios; each lasted for two consecutive weekends. They attracted numerous visitors and media coverage. Detail:

http://fotanian.com/

(Notell) uDowda Happening1' was held in January 22, 2005. A soy sauce factory was converted to mobile performing booths, exhibition halls, performing studios and recital halls. Soy sauce transformed into ink; soy containers became musical organs; delivery belts were part of installation art. Without Centre Pompidou's participation, local styles of art were revealed. Detail:

http://www.mackiestudy.com/dowda/main_chi.fitrn

二

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(Notel2) ''reÿvanchai'' was presented by The AiR Association Limited, Hong Kong in conjunction with St. James' Settlement and Triangle Art Trust, UK in April, 2005. 12 overseas and 12 local artists invited. Outreach programs and visits, organized by St. James' Settlement, were introduced to artists and students to promote interaction. (Official website: www.hkair.org) (Notel3) In Hong Kong Visual Arts Yearbook 2003, there were 68 curators organizing 940 exhibitions. In < In Hong Hong Kong Visual Arts Yearbook 2004, there were 80 curators organizing 896 exhibitions. Kong Visual Arts Yearbook 2005, there were 93 curators organizing 1126 exhibitions. Curators arranged lessthan 9% of exhibitions and not more than 10% employed western media.

is the practice, "artists as curators", a main trend in current art culture? Or is this a myth of western culture? Introspection should be carried out. Since not much attention was paid to artists' development, it is inevitable thatthey have to play both roles simultaneously. is an outcome of the fact that artists have to perform a curator's responsibility. I believe that such burden arises from the process of planning, coordination and promotion. The involvement of art administrators and curators is nevertheless essential. However, communication between artists and curators nowadays is one way. It is a tradition for curators to look for artists rather than the other way round. When we talk about interaction of two parties, their "rights" should be mutual. Can artists take the initiative instead?(Notcis; If an artist is able to seek his/her curator, the characteristic that "artists are the focus of cultural development" will be maintained. There will be a breakthrough of the state that artists are curators at the same time. There are very few artists who can play the roles of both professions concurrently and successfully. This is a temporary situation since it cannot accommodate the long-term development of the "West Kowloon Project". "ÿ•ÿBurden of an artist*

I would like to expand my thought further regarding a curator's perception. Artists receive greater financial support when exhibiting in galleries rather than other art spaces. This is based on an optimistic assumption that sale of art pieces is satisfactory. It is common for an exhibition to carry a certain style and this approach is widely adopted by curators in contemporary art culture. In the West, art critics' comments on new trends provide basis for future dialogue. The occurrence of any new art movements relies greatly on the support and promotion of art

(Notel4) Same as note 1, p.102 (Notel5) Thisis my suggestion though not original. Reference: Michelle KASPRZAK,'Man Bites Dog (or, Artist Chooses Curator)'. http://vvv\ÿ.airatingjnfo/aidiives/31-man-bites-dog-or/-artist<hooses-curatoriitnil. December13,2006.

sr.

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galleries. Seth Siegelaub(Nÿfei6) , a gallery owner, is a perfect example. He promoted artists and art pieces on Conceptual Art extensively and effectively in the sixties and seventies. His form of exhibition was extensively taken as a reference by curators in the future. From an artist's standpoint, a curator is the first person to contact when he/she approaches bureaucracy. The appearance of independent curators counteracts existing system on art and exhibition polices. With independent curators, political and aesthetic risks of an institution will be reduced. The influence of a curator makesthe authorities behind obscure. These authorities are referred to as choices and power generated by organizers of exhibition space, art foundations and art collectors. We have to take into consideration existing system on exhibition space as a form of authority as well. It accepts and makes decisions on proposals presented by curators. It is hard to recognize such facts in Hong Kong because artists are members of board of directors in art spaces and institutions. The reciprocality of art policies and curators cannot be ignored.

Gallery For Artists There is no shortage of art galleries in Hong Kong. Most of them are located at Mid-Levels and commercial districts in the Central. There is nothing special that they come and go. I agree with Lee thatthe increasing number of commercial galleries has resulted in different approaches on operation. From my understanding, there has been a number of new galleries opened by both local people and foreigners in Central since 2001, for example: Galerie Martini (1997 - 2004), 5 O.P.T Studio/Gallery(Nÿfei7> and Art Statement (opened in 2004)(Nÿtei8) and so on. In addition, galleries like Meli

(Notel6) Seth Siegelaub spentgreat efforts in promoting Conceptual Art in the 60s and 70s. In to situational aesthetics, a gallery owner Michael Asher emptied his gallery "Claire Copley" except his office. This concept was presented as an art piece. It was his reaction of disapproval to the commercialized art market at that time. In 1968 in Dusseldorf, "Prospect 68" invited various art galleries to exhibit avant-garde and non-traditional sculptures and paintings. Seminars for art critics were held. Detail: 唐曉蘭：《觀念藝術的淵源與發展》，台北：遠流出版社，2000年或 Gregory Battcock edt.'Idea Art:A Critical Anthology'. New York: E P Dutton,1973. (Notel7) Detail: www.5opt.com.hk (Notel8) Detail: www.artstatements.com

Melo Limited (opened in 2001)(Nÿfei9)and State of the Arts(Nÿfe2ÿ)(opened in 2003) dedicated not only to sale of art pieces. From 2004 to 2006, new galleries were opened by local Chinese in other districts. They carried out various activities other than sale of paintings and valuable art pieces. UMA G(Nÿte2i) organized an exhibition in the Wanchai community. YY9 Gallery, located in Happy Valley, was established in conjunction with the owner's interior design business. Also Osage Gallery, opened in 2004(Nÿte22) and located in Hong Kong, Southeast Asia and China, founded the Osage Art Foundation and Osage Art Space. Galleries opened by foreigners represent both local and foreign artists. However, those organized by local people always represent local artists. Although the latter does not impose any direct influence on local art development, this is a new setting in response to the New Kowloon Project and "Creative Industry" afterthe oc,currence of "Art Space". Lee also mentioned "local commercial galleries, performing a middleman Should role, were unable to promote local art successfully commercial galleries be responsible for this job? It is the wish of all artists that they would be promoted by galleries and become well known; and good sales of their work would be generated. Commercial galleries are products of local culture. Should they focus on their business or the responsibility of local art development? Can they achieve both aims? Is it necessary to prioritize their aims? However, I think that we do not take into consideration consumers and do not include the discussion of "market orientation" and "market factors". My understanding of "market orientation" is that a consumer may not purchase the product you wish to sell. A consumer may not have an understanding of the art piece he acquires. The motives to purchase among consumers are different. On the

(Notel9) Detail: http://artjamming.com/ (NotelO) Details: http://www.sotagallery.com.hk

(Note21) Detail: www.uma-g.com (Note22) Detail: www.osagegallery.com (Note23) Same as note 1, p.102

2ÿ

contrary, an artist may market his work directly to consumers without the involvement of art dealers. In a free market, this is a negative side effect of "market orientation". In order to keep the price of artwork low, companies prefer to contact artists directly. Without price adjustment by art dealers, no protection is given to the future value of artists. It in turn has impact on future development ofthe industry. In my opinion, "Too Art" is a gallery with both "lightness" and "heaviness". Although Lee considered it as an unsuccessful commercial gallery(Nÿfe24ÿ, I think its achievement is its non-commercialized nature, and its failure is its pure art focus. Its "lightness" is based on its lack of "market-driven," "childlike" exhibitions; its heaviness is expressed by its English name "Too Art" which insists on the heaviness of art and creation. Probably we should interpret it as an artist-run gallery. Apart from providing flexibility in art creation like "Art Space", it is an unofficial resource for artists. Besides, it further widens the concept of "Art Space". Despite the fact that it struggles for survival with limited income, it nevertheless provides the public an image that artists are independent of "art welfare".(Nÿte25)

(Note24) Same as note 1, p.105 (Note25) In February ZOOiPatrick Ho Chi-ping commented in an article printed in Mingpao Newspaper that sponsorship from Hong Kong Arts Development Council would not encourage indolence. The image of "a department of welfare" and "a department of couch potato had to l>e eliminated. A sarcastic remark, "art welfare", was later on referred to sponsorship offered by Horig Kong Arts Development Council. ??

Jeff Leung read.jeff@gmail.com Jeff Leung graduated from Department of Fine Arts, Chinese University of Hong

Kong in 2001,then he worked asan art administrator and project co-ordinator in different sectors, including Venice Biennale (2003) in Venice, Kwangju Biennale (2002) in Korea, Para/Site Art Space and Hanart TZ Gallery in Hong Kong. Jeff is now working asan freelance curator and art writer, contributes to Hong Kong newspapers such as Wen Wei Po and Hong Kong In-media. 2

(www.inmediahk.net)

如果沒#&共 If There Is No

Public Art

林嵐 Lam Laam Jaffa

「公共藝術

art)ÿ一詞，聽起來也許太具份量，沉重得把眼皮壓住，看不見

它的真相。「公共藝術」的概念，源於在公共場所展示傑出藝術家的作品，使人們不必造訪藝術館，就可以近距離接觸藝術，提昇生活品質。(註1) 雖然於不同的現代

城市，公共藝術有不同的演釋以及進展，但是總體來看，所有發生在公共場域裡

(public space) 的藝術

或事件

仍然歸納為此範哦。藝術活動使不少

社區和人民無論在精神和實質上都受益其中，使社區融洽，及喚起社會集體回憶。

但是回望那些在密集都市中出現的龐然大物，其神話的作用卻像氣泡一樣，經不起陽光的考驗，它的作用經常被質疑，是粉飾太平，還是真正還公眾一種精神享受？

如果要討論公共藝術，切入的觀點可以很大很廣，所以筆者在此將以一位普通公民

的角度出發，分析公共藝術對生活及周邊環境所產生的根本意義；或換另一個角度

去看，公共藝術的原本目標或許也可以透過其他渠道達到，讓讀者重新思考〃公共藝術」甚至「藝術」的本質。

最近經常遊走在不同的城市中，城市的特色景觀，成了辨認她們的記認。然而偌大的玻璃幕廈，大同小異。「咦，連那件雕塑也好像在那裡見過？這件作品在我的城

市裏好像也曾經出現，令我一度懷疑回到了自己的家|這種叫人迷失方向不知身在何方的感覺是全球化的問題嗎？」也許是的。不過任何重視自己民族傳統的國家及城市，是不會被全球化的洪水拉倒，因為於建立全球化的同時亦會提倡多元化，確

保市民不會被遲來的單一文化主宰，同時，教育民眾

@ 護傳統與藝術的意識也是備

受重視，以下是一個活生生的例子。

(註1) ?健敏：《百分比藝術，美國瑁境藝術》（台北：藝術家出版社，1994)，頁14 ;

傅統文化的欣賞與尊重偶然機會得知一位意大利人 Carlo

Petrini 發起了「國際慢食運動」

S/oiv Food /Woi/emenf)，成功阻止意大利的第一間 McDonald在羅馬開幕，也保護了不少意大利古老名鎮，例如 Tuscany ，嚴禁快餐店在鎮上經營。該運動提及「保留祖先留下的豐富文化」

愉悅

protecf ow /mÿa/uab/e food /7er/fage>(註2>，也提倡味覺的

of taste)ÿ甚至教育小孩子對味覺的欣賞以及餐桌上的享受(their

appreciation of food and the pleasures of the table)(註3> 這是從個人開始，進

而發展至欣賞群 / 觀眾，讓廚師們都能找到他們的工作意義，繼續為懂得欣賞美食

的人辛勞。

除了感觀享受，擁有是另

_ 種欣賞的體現。容許非功能性的東西陳置在家

除了顯現了收藏者對 1也者」

/ 城市中，

的高度容忍，也呈現了人與物

之間

不可斷割的感情。有些人收藏古董，有些人收藏玩具、郵票等；相信收藏藝術品的人，還是少數稱得上收藏，一定不是一、兩件的事，而是成系列甚至成千上萬的數量。都會的地方寸金尺土，新舊的交替在眨眼之間，到底甚麼要留下，甚麼要剔

走，純粹是個人價值的問題。我們不可能要求人人都是「收藏家」，除了要騰出地方和節省開支，花費在資料搜集的精力也是源源不盡地付出。這些個人價值的取向

與一個城市的價值觀類似，要呈現、保存任何公共藝術，皆和公民的情感、價值觀分不開。

波依斯

Beuys) 曾說：「人人都是藝術家」，其實，人人都是「藝術欣賞

者」已是不錯的目標，因為能不能成「家」實在混了太多的變數。公共藝術其中最重視的是公民藝術意識的培養，其實透過吃飯、飲茶、日常生活也可以達到。

(註2) http://www.slowfood.corrVeng/sf_cose/sf_cose_mission.lassoÿ 於 2006年 9月9日更新

|註3) http://www.sallys-place.com/food/single-articles/slow_food.htmÿ 於2??6?9@8曰更?if

街頭藝術館喜歡旅行的人一定少不了去逛其他城市的小街、小巷、小店。我們一定想伸頭看看小巷裏的風景、舊房子、舊門牌、以至屋前屋後所放置的物件、頭上看似危險但具功能的僭建物；小店內裡特色的販賣物件、自製的推車、工具及招牌等等，通通成為相機裏的印記。這不單是懷舊，而且是尋找城市已經消失的文化一自家製造的

道地文化。這種喜歡動手自行解決問題的方法，相對於動腦筋解決藝術創作過程問題

solving) 的思維，有異曲同工之妙。當代藝術家的公共藝術經常在場

域

specific) 解決，其實場域裡本身已有這些最接近藝術的物件，藝術家只是

擔當一個資料整理員的工作，把合用的物件重新呈現。

此外，有時政府也間接做了些他們不以為意的公共作品：鑲有城市名字和圖案的渠蓋、地面的舖設、行人隧道和天橋、公廁的設備、紅綠燈的安置、招牌的規整、垃

圾桶的分類、甚至是為防止張貼的橡膠套，它們為政府傳遞了自我信息之餘，也營

造了獨特的城市面貌。這是政府對公眾需要最坦白的回應，比起那些粉飾美好的口號，更像一位藝術家在表達自己的看法一樣率直。其實我們每天都在不知不覺間近

距離地接觸著藝術。

賴

(

遽 yv > ；

?在 .

«33l

在韓國街頭到處都可以見到這些橡膠防止標貼。 You can found this rubber sheet for preventing bill everywhere in the street of Korea.

先是教育才是「藝術 J 藝術的存在並不在乎一個名稱，而是人的生活態度。在思考和實行這種生活模式時所產生的事件和物件都可以是藝術品。在此，本人並非全盤地否定〃公共藝術」的

存在價值。當我們投訴我們的城市沒有支持公眾藝術的固定資金，像美國、韓國甚至台灣的「百分之一」的建築基金投入藝術行業，也許我們更應該問的是我們的公

眾需要甚麼樣的藝術？其實自古至今，在「公共藝術」誕生以先，民間生活創作的

智慧己一直在悄悄地醞釀，令城市、大自然與人心得到美好的平衡，只是今天的城市裡那一頭又一頭不知明的「怪獸」，佔據我們的空間與感觀，才最格格不入最大

煞風景，是一種強行入侵的破壞。也許，遭受破壞後的土地可以令其後的草木長得更堅強茂盛，但卻多添了幾道感嘆。

?林嵐林嵐畢業於香港中文大學，分別於1997 年取得藝術學士學位、1999年取得碩士學位及 2000 年取得藝術教育文憑。創作是以木為主要物料的指定場地雕裝置，同時混合並使用其他另

類物料：水、光、塑膠、玻璃、金屬、現成物等等。林氏曾參與多個國際藝術家交流 / 駐場計劃。近年活躍於策劃、參與社區藝術及公共藝術計劃，林嵐現於香港藝術學院教授雕

塑課程。 8

TranslatorÿChoi Wing-sze

The term public art perhaps sounds too heavy for us to see the truth. Public art originates from the idea that by exhibiting famous artists' artworks in public space and making art easily accessible, people's quality of life can be improved even without visiting museums.fNofei; Regardless of the different interpretations and advancement of public art in different modern cities, on the whole, all those art or event which takes place in public space are classified as public art. Art activities bring about spiritual and substantial benefits to communities and the people, enable social integration and recall collective memories. However, those monumental colossi standing in densely populated metropolis, like myths, are transient and impermanent. Whether public art is intended to provide spiritual enjoyment to the public, or simply a means to pretend that everything is going well is subject to frequent skepticism. As the base for discussion of public art can be very broad, the author will analyse, from an ordinary citizen's point of view, the fundamental significance of public art arising from life and social context. Or from another angle, the original goals of public art are also attainable through other channels. Readers can reflect on the nature of public art, and even the intrinsic quality of art.

Recently I have been traveling in different cities. Distinguishing landscape of cities become their signs for recognition. To my disappointment, huge glass buildings all look more or less the same. "Oh, it seems that I have seen that sculpture somewhere else? This work seems to have appeared in my city, making me doubt if I were at home. Is this loss of orientation a problem of globalization?" Perhaps it is. But those cities and countries which treasure their national traditions are not easily overridden by globalization, because alongside globalization is diversification, ensuring that people will not be reigned by a late single culture. At the same time, public education on the conservation of traditions and art is also emphasized as illustrated by a real example below. 2ÿ

fNofel) ?健敏：《百分比藝術，美國瑁境藝術》（台北：藝術家出版社，1994)，頁14 9

Appreciation and Respectfor Traditional Culture Incidentally I got to know an International Slow Food Movement, launched by an Italian Carlo Petrini, which successfully prevented the first McDonald from landing in Rome. This movement has also protected many old towns in Italy, Tuscany for example, by forbidding the sale of fast food in these towns. The campaign talks about the notion of "to protect our invaluable food heritage''(Nÿte2) , advocates the "pleasure of taste", and educates children "their appreciation of food and the pleasures of the table'VNÿte3ÿ. Starting from individuals to audience, this movement allows chefs to find the meaning of their work, from which they continue to make effortfor those who know how to enjoy delicacies. Apartfrom sensual enjoyment, possession is another kind of realization of appreciation. Allowing non-instrumental objects to be displayed at home or in a city, not only does it show collectors' tolerance to "others", but also the inseparable sentiments between person and object. Some collect antiques, some collect toys, and some collect stamps. Only a handful of people collect works of art, I believe. Collection is certainly not a matter of one or two pieces, but by the thousands and tens of thousands. In metropolis where space is valuable, the transition from old to new is in a blink of an eye, whatis to go and stay is purely a matter of personal value. We cannot expect that every person is a "collector" who continuously spares space, money and time in research. Such personal value orientation is similar to that of a city. To exhibit and preserve any public art is inseparable from civic values and sentiments.

Joseph Beuys once said, "Everybody is an artist". In fact, the target of everybody is an "art appreciator" is good enough, because whether one can be an "artist" involves too many variables. One of the most important parts of public art is the cultivation of civic art awareness, and this is achievable on dinning tables, at teatime, and even in daily life.

British Indian artist, Anish Kapoor's work is one of the landmark in Chicago. 英籍印裔藝術家，Anish Kapoor的作品成? 芝加哥的地標之一。 (photo tooked by Jaffa, 13 Nov 2006) (照片由林嵐於2006年11月13曰拍攝

Street Museum Those who love traveling would definitely have been to wandering in back streets, alleys and corner stores in cities. We certainly want to peep into alleys to have a look at the landscape, old buildings, old door plates, even objects placed in the front and backyards, multi-purpose but dangerous and illegal structures above us; products being sold at corner stores, homemade trolley, tools and signboards, all become imprints on our cameras. This is notsimply nostalgic, but a search for the lost cultures of cities -the homemadelocal culture. Compared with problem solving in the art-making processes by the way of thinking, problem solving by working with one's hands, though different in approach, is similar in purpose. Contemporary artists' public art is very often site specific. Actually the site itself is self-sufficient in containing objects closest to art. Artists are only playing the roles of information processors to reconstruct relevant objects for displayBesides, the government sometimes indirectly and unintentionally does some oblivious public art: manhole covers with the cast of the city's name and symbol, decorations on the ground, tunnels and flyovers, public lavatories, traffic lights, signboards, rubbish bins, and even plastic covers prohibiting the posting of notice. Not only have these objects conveyed government messages, but they have also constructed the unique appearance of a city. This is a government's most straightforward response to public needs, compared to those beautiful slogans for covering up; the former is closer to an artist's direct expression of one's views. As a matter of fact, every day we are closely in touch with art without being aware of it.

Hÿ

2 2

Education ahead of Art The existence of art is reckless of a title, but one's attitude towards life. Anything that comes into existence during the thinking and implementation of this way of living can be a piece of art. I have no intention of totally negating the value of public art here. Unlike the allowance of 1% construction costfor the art profession in USA, Korea and even Taiwan, perhaps we should ask what kind of art does the public need before we complain aboutthe lack of stable funds for public art. In fact, long before the advent of "public art", the wisdom of folk art has developed without being noticed, maintaining the equilibrium of cities, nature and human hearts. Only that the presence of those anonymous "monsters" in cities nowadays have occupied our space and senses, the most incompatible and disappointing form of intrusion and destruction. Perhaps the aftermath of ruins enables stronger and more luxuriant vegetation to grow out of it, but only with an additional breath of sigh.

Lam Laam Jaffa Lam Laam Jaffa received her BA, MFA & Diploma of Education from the Chinese University of Hong Kong in 1997, 1999 and 2000 respectively. She specializes in site-specific work with sculpture installation; woodcarving mixed with alternative materials, for instance, water, light, plastic, glass, soft materials and metal. Recently, she involves in local and international public sculpture and community projects. Jaffa, currently, teaches sculpture courses at Hong Kong Art School.

l 2 3

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