Beyond Ink

From Breaking Boundaries to Blooming Everywhere

With the fall of the Qing Empire, the introduction of Western art, and the transformation of modern society, Chinese calligraphy and painting entered a new era, compelling Chinese artists to seek ways to uphold their cultural identity amidst the evolving landscape of modern and contemporary art. The Beyond Ink group exhibition features seven artists—LI Yuan-chia (1929-1994), Lalan (1921-1995), LEE Mau-cheng (1954-), HUANG Hung-Teh (1956-2022), BU Zi (CHEN Tsung-Chen, 1959-2013), LEE An-cheng (1959-2015), and LIN Yan (1961-)—in an effort to trace the journey of modern Chinese painting towards contemporary ink arts over the past 50 years.

『觸景筆記』—從力挽狂瀾到遍地開花

策展人：廖珮妏

參展藝術家：卜玆、李元佳、李安成、李茂成、林延、黃宏德、謝景蘭

The Magnet & Child ｜ Hung-Teh HUANG

While HUANG Hung-Teh primarily focused on oil painting, calligraphic brushstrokes are often visible in his creations. He graduated from the Fine Arts Department of the National Taiwan Academy of Arts in 1983 and received numerous awards in the following three years. Since 1986, he had invited artists to participate in the Modern Art‧Style Exhibition of South Taiwan, highlighting "the spirit of ideas, thoughts, feelings, experimentation, and adventure." HUANG's pieces were mostly inspired by everyday found objects. He let his brush wander over bricks, tiles, and walls, painting with thoughtful lines, and subtly responding to the minimalism trends and the desire for spatial liberation.

黃宏德雖主攻油畫，但在他的創作中經常可見書法筆觸。他於1983年自臺灣藝術專科學校美術科畢業，此後三年間連續獲得獎賽肯定，1986年起更廣邀藝術家參與「南臺灣新藝術‧風格展」，重視「觀念、思想、感覺、實驗、冒險之精神。」黃宏德的創作多取材於日常現成物，他任畫筆在磚塊、瓦片、牆面遊走，以飽經思考的線條作畫，低調地回應時興的低限主義及對平面解放的訴求。 

Untitled (Landscape)｜ An-cheng LEE

LEE An-cheng displayed his talent for ink painting in middle school and studied with calligrapher-painter Jar Song-Jen (1926-). After graduating from high school in 1979, he went to Keelung to live with his older brother Mau-cheng. Excelling at creating visual impact, he used different tools to paint in the earlier years by applying sweeping brush strokes combined with wet brush dotting to present an organic dry and moist texture. Living in Yangmingshan, Xindian, and Hongshulin allowed him to further master the rhythm of the ink and water interplay. His black-and-white landscapes rendered with different levels of shades resemble photographic works that jog memories of past vistas.

李安成也在中學時展現水墨天賦，曾向書畫家賈松珍（1926-）學習，1979年高中畢業後至基隆與兄長茂成同住。李安成擅長營造畫面效果，早年他即運用不同工具作畫，藉由將排刷快速掠過紙面，搭配濕筆點染，呈現渴、潤筆交錯的自然紋理。陸續徙居陽明山、新店與紅樹林後，李安成更能掌握水墨交融的節奏。在經渲染的黑白景致中，他以不同層次的濃淡切割畫面，像是攝影作品，令人憶起曾經寓目的過往。

NO.143, 1991｜Lalan

XIE Jing-lan was born in Guizhou, China, and attended the Shanghai Conservatory of Music. She went to France in 1948 to study at the Conservatoire de Paris, and later studied modern dance and explored electronic music. This educational upbringing enabled her to interpret flat surfaces with a unique vision, as she recalled her painting in a "gestural, abstract, almost written" approach. XIE's monochromatic lines entwine and extend across the paper, with deep or shallow color fields permeating the space. Perusing XIE's works is like falling into the hazy allure of a Southern Song Dynasty landscape painting, where only consciousness can roam.

謝景蘭出生於中國貴州，曾入上海音樂專科學校。1948年赴法後，先入巴黎國立高等音樂舞蹈學院深造，而後學習現代舞並探索電子音樂。這些學養讓她能用獨特視野詮釋平面，如同她憶述以「姿態抽象、接近書寫」的方式作畫，她經常任單色線條在畫布上纏繞、綿延，再以深淺不一的色面梳理空間。閱讀謝景蘭的作品猶如墜入南宋小景山水中的氤氳幻境，唯有意識得以徜徉。

Two Trees｜Mau-cheng LEE

Like their predecessors who journeyed to Europe, Taiwan-born artists in the 1950s sought to reinterpret traditional calligraphy and painting in their own styles. After graduating from Chiayi Teachers College in 1975, LEE Mau-cheng moved to Keelung for a teaching position. He audited classes taught by Chiang Chao-Shen (1925-1996) at the National Palace Museum in Taipei and depicted Taiwan's lush vegetation by imitating Fan Kuan's (c. 950-c. 1032) famous work Travelers among Mountains and Streams. In his pastel work Two Trees (1994), he employed delicate brushstrokes to overlay the appearance of trees swaying in the wind at night, evoking the abundant moisture of Keelung's rainy days. In addition to painting, LEE also grew up practicing calligraphy. His sleek, flowing lines, robust and powerful, are reminiscent of master calligrapher Yan Zhenqing (709-785).

與遠赴歐陸的前輩藝術家相同，1950年代在台出生的藝術家多嚮往傳統書畫，並以自我風格轉譯。1975年李茂成自嘉義師專畢業後，因教職分發至基隆定居，期間他曾至台北故宮旁聽江兆申（1925-1996）授課，透過臨摹范寬（約950-約1032）《谿山行旅圖》描繪台灣茂密的植披。而在1994年的粉彩作品《兩棵樹》中，他以細密的筆觸疊加成樹木在暗夜中隨風搖晃的樣貌，畫面中流淌著豐盈水氣，一如基隆多雨的日常。繪畫之外，李茂成長年臨習書法。他的線條圓轉流暢且結構穩健，令人遙想顏真卿（709-785）的書風。

Dew｜ Yan LIN

Born in Guangxi, China, LI Yuan-chia studied painting under modern art advocate Li Chun Shan (1912-1984) after moving to Taiwan. In his early works, he layered ink on lightly dyed paper, creating compositions similar to those of Wassily Kandinsky (1866-1944), but with spontaneous brushstrokes replacing geometric shapes and appealing to the intuition of Chinese calligraphy. From 1959, LI used "dots" to represent all things; he eventually moved to Italy three years later. His "dots" sometimes resemble an old man standing still, sometimes like flying white at high speed, akin to Lucio Fontana (1899-1968) slitting the canvas one by one with a knife, allowing the viewer's gaze to wander in three-dimensional space.

紙墨能否跨足三維？林延於1984年於中央美術學院油畫系畢業後，赴巴黎國立高等美術學院繪畫材料研究室，並在1989年取得美國賓州布魯斯堡大學視覺藝術碩士。以材料、空間回應對當代中國文化的反思，一直是林延的核心命題。1994年歸國後，有感於老家王府井胡同遭拆遷的命運，她創作出「致北京」系列，用紙重塑並仔細排列「黑瓦」，再用不鏽鋼釘合，以不同視角勾勒家的印象。

Lying in Spring Breeze ｜Zi BU

BU Zi studied with Tso Rong (1895-1993) and frequently won calligraphy competitions before turning 30. Unafraid to break the mold, his later large-format cursive script defied conventional constraints in size, flow, and rhythm—bold and captivating to the eyes. Underneath the seemingly frenzied appearance, BU Zi's cursive characters never strayed too far from the calligraphic canon, with a "swift and terrifying" speed comparable to Huaisu (725-785), ink mastery matching that of Wang Duo (1592-1652), and the continuous, ethereal brushwork suggestive of Fu Shan (1607-1684). With unwavering dedication and confidence in integrating the classics, BU Zi propelled calligraphy into the avant-garde, making an existential declaration that deeply resonates with people through the myriad variations of lines.

卜玆曾向曹容（1895-1993）習書，未滿30歲即為書法競賽常勝軍。他勇於超越形制，尤其是晚期大字狂草，無論尺幅、行氣、節奏皆打破既有擘窠，筆墨沉著痛快且酣暢淋漓。貌似狂亂的表象下，卜玆的草書字字未離法度，速度好比懷素（725-785）「迅疾駭人」，善用漲墨一如王鐸（1592-1652），連綿怪拙的筆法上追傅山（1607-1684）。卜玆以無比的用功和融會古典的自信，將書法推向前衛，像是一則存在主義宣言，以線條的萬千變化直擊人心。

98-02｜Yuan-chia LI

Born in Guangxi, China, LI Yuan-chia studied painting under modern art advocate Li Chun Shan (1912-1984) after moving to Taiwan. In his early works, he layered ink on lightly dyed paper, creating compositions similar to those of Wassily Kandinsky (1866-1944), but with spontaneous brushstrokes replacing geometric shapes and appealing to the intuition of Chinese calligraphy. From 1959, LI used "dots" to represent all things; he eventually moved to Italy three years later. His "dots" sometimes resemble an old man standing still, sometimes like flying white at high speed, akin to Lucio Fontana (1899-1968) slitting the canvas one by one with a knife, allowing the viewer's gaze to wander in three-dimensional space.

李元佳出生於中國廣西，入台後向提倡現代藝術的李仲生（1912-1984）習畫。他早年將黑墨堆疊在經淡染的紙上，構圖雖與瓦西里‧康丁斯基（Wassily Kandinsky，1866-1944）相類，但隨機筆觸卻取代了幾何造型，訴諸中國書法的直覺。1959年起李元佳以「點」作為萬物象徵，三年後轉赴義大利。他筆下的「點」時如老翁駐足、時如高速飛白，好似盧齊歐‧封塔納（Lucio Fontana，1899-1968）用刀一一刺穿畫布，讓觀者視線遊走於三度空間。